Archives for posts with tag: racism

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.

trainwreck

Sow-faced Jewess Amy Schumer impersonates a white woman as a slovenly, arrogant slut in Judd Apatow’s romantic comedy Trainwreck, written for the screen by the slob herself – and she shows a surprising range as an actress, managing fairly touching moments as a woman whose floozy ways conceal more substantial emotional needs. Absurdly, the star writes a bevy of men into the script – even muscle-smothered wrestler John Cena – who of course find her implausibly irresistible. Schumer plays a journalist doing a magazine story on sports doctor Bill Hader, whose nice guy ways and patience are tested when Schumer begins to resist the pull of love and romantic commitment to him. Colin Quinn is a breath of freshly polluted air as Schumer’s cantankerous, ailing father, and even LeBron James is shockingly competent as an actor in his supporting role as one of Hader’s celebrity patients. Unnecessarily gross as one would expect from an Apatow joint, Trainwreck nonetheless has its vomit-flecked charms for those willing to take the proper sanitary precautions.

Three-and-a-half out of five stars. Ideological Content Analysis indicates that Trainwreck is:

9. Pro-immigration. An African nursing home orderly (Method Man) mentions that he was a doctor in his home country, reinforcing the idea that immigrants are underappreciated, underutilized, and highly skilled workers.

8. Pro-slut. Hader remains devoted to Schumer even after learning what a biohazardous tramp she is. “Don’t judge me fuckers. I’m just a sexual girl,” she explains. “I am fine. I am in control.”

7. Pro-drug. Schumer gives a box of drugs to vagrant Dave Attell. During the prelude to a sexual encounter, a minor (Ezra Miller) snorts what appears to be cocaine. “We think it’s Ritalin,” Apatow says during his audio commentary, but the director also acknowledges that “it could be anything.” “We should celebrate! We should go out!” Schumer declares in a deleted scene. “We should get drunk! […] I feel like you don’t really know someone until you see them drunk.” Binge drinking leads to a romantic dancefloor kiss.

6. Pro-gay. Homos, Schumer explains, are “people”, and she objects to what she diagnoses as her father’s homophobia. In a wisely deleted scene, sports talk among seemingly heterosexual men leads to an orgy of homoerotic beer-spraying and sucked hot dogs.

5. Trainwreck receives a (dishonorable) honorary mention as an anti-gun film in view of the shooting incident that occurred in a theater during the film’s release – prompting its star to enter into collaboration with her cousin, Senator Chuck Schumer, to lobby for stronger anti-gun laws.

4. Anti-Christian. “I let Tim and his [black] brothers tag-team me on Christmas morning,” confesses repulsive Bridget Everett. “And you know what? It was wonderful.”

3. Pro-miscegenation. In addition to the above anecdote, Schumer’s buddy Vanessa Bayer lusts after dysgenic unions.

2. Anti-white. “Babe Ruth was awful,” scoffs the protagonist’s father. “How could you be a superman when you never played against a black guy your whole life? Every twelve-year-old kid in the Dominican Republic right now could probably beat Babe Ruth.” Somewhat tantalizingly, the film, like Schumer’s stand-up comedy routine, flirts at times with race realism in its implicit acknowledgment that friendships tend to form along racial lines. The writer-star milks humor from her character’s goofy attempt to use a photograph of a black waiter serving her in a restaurant to prove that she has black friends. While Trainwreck at times appears to be skewering the hyper-sensitive absurdities of political correctness, it actually takes sadistic pleasure in the discomfort PC totalitarianism creates for whites who struggle for footing amid the constantly shifting requirements for white debasement and verbal self-policing. “We’re really making fun of white people here,” Apatow clarifies for those in doubt during his audio commentary. Most ridiculously, the film features a scene in which blacks are bothered by whites talking during a movie.

1. Pro-marriage. Opening with a woman’s memory of her philandering father’s breakup with her mother, Trainwreck concerns itself with a very real challenge confronting millennial singles: the problem of creating healthy and lasting adult relationships in the absence of successful parental models. After avoiding commitment all of her life, Schumer concedes that all along she has actually envied the comfortable but unerotic stability of her sister’s married life.

Rainer Chlodwig von K.

gorillas-in-the-mist

Forget Runaway Slave (2012) or Hillary’s America: The Secret History of the Democratic Party (2016). Gorillas in the Mist (1988), starring Sigourney Weaver as mountain gorilla specialist Dian Fossey, is the ultimate liberals-are-the-real-racists experience on film.

Fossey is a sixties feminist freakazoid whose work with handicapped children fails to satisfy her attraction to the dysfunctional and the grotesque. Instead, she travels to the African jungle to subsist all alone on a mountain with wild gorillas and nobody but mostly unfriendly blacks for miles around. One of the zanier heroines in eighties cinema, she is something of a thematic cousin to the protagonists of Werner Herzog’s Aguirre (1972) and Fitzcarraldo (1982).

Disregarding her mentor’s warnings, Fossey, after first being spooked by one of the rampaging apes, slowly gets close and personal with a particular group of gorillas. She crawls around on the ground with them, learns to imitate their grunts, and gets to know each one of them individually. In one of the movie’s breakthrough moments, she even holds hands with one of the things and practically swoons with schoolgirl languor.

Her interactions with the black natives are far less promising. A group of soldiers ransacks her belongings and scatters her scholarly papers. The local Batwa tribesmen offend her sensibilities with their traditional hunting techniques, prompting her to sabotage their traps. Fossey capitalizes on their superstitious conviction that she is a witch by encouraging them in this impression, making them afraid of her with devilish exhibitions of voodoo.

dian-fossey

Dian Fossey, gorilla supremacist feminist icon

Eventually, after a party of poachers cuts off the head of one her apes, Fossey loses her mind and practically goes Col. Kurtz on the “wogs”, as she calls them, setting fire to grass huts and even staging a mock-lynching (!) for one of the culprits.

Gorillas in the Mist, on its surface, may only be the story of one woman, Dian Fossey. On the subtextual level, however, what is at stake is race relations. The overly optimistic idea is that, if this miracle worker, Dian Fossey, can even tame the savage heart of a wild mountain gorilla, then surely, too, there is hope that whites can live in peace with primitive blacks someday.

There is, too, an implicit imperialism of the heart about Fossey’s presumptuous shouldering of the white woman’s burden to teach the ignorant Africans how to conserve their wildlife. Maurice Jarre, most famous for composing the score to Lawrence of Arabia, was tapped to create the soundtrack to Gorillas in the Mist. Just call her Fossey of Afro-Apia!

The film’s depiction of Fossey as a woman of mingled passion and bigoted misanthropy seems to have been rather on the mark. The L.A. Times, in its notice of Fossey’s unsolved murder in 1985, noted:

“What is important is that she was the first to ‘habituate’ gorillas” to the presence of humans, said Belgian ecologist Alain Monfort, an adviser to the Rwandan Park Service. “Before that, people thought gorillas were highly dangerous,” Monfort said.

But the naturalist’s sometimes-eccentric behavior irritated both the Rwandan government and the international wildlife community. […]

In an interview at her camp in May, one of the last she gave, Fossey defended her policy of encouraging the apes to fear black Africans because nearly all poachers were black. She conceded that the policy could be branded as “racist.”

The Wall Street Journal also says this:

Fossey, who was hacked to death with a machete in her bed 16 years ago – by whom, we still do not know, though it could have been poachers, a disgruntled Rwandan servant, or even an American colleague – saw herself as a benign earth-mother to the highland gorillas she helped protect. There can be no denying her path-breaking achievements, and had it not been for her, and for the attention she attracted to the cause of the mountain gorillas, it is possible that we might, today, have been talking of those animals in the past tense.

But Fossey was also a racist alcoholic who regarded “her” gorillas as better than the African people who lived around them. Her anthropomorphization of the apes was matched by her unceasing belittlement of the area’s natives. Arguably the world’s first eco-colonialist, she habitually referred to Rwandans as “wogs,” never in all her time recruited a single black African as a researcher and even burned the crops of neighboring peasants whom she suspected let their cattle graze in the reserve.

As extreme as Gorillas in the Mist makes Fossey’s obsessiveness appear, the film constitutes a positive sanitization of her activities if her fellow primatologists Bill Weber and Amy Vedder are to be believed when they claim that Fossey “pistol-whipped a man suspected of poaching on her reserve, and then supervised his prolonged torture at her camp, including the rubbing of stinging nettles on his penis and testicles.”

The feminist conservationist icon might have missed her calling shoveling Shlomos into the ovens in a Spielberg epic, sounds like. At least Madison Grant never messed wit muh dik.

Rainer Chlodwig von K.

bone-tomahawk

Bone Tomahawk is the real deal: a gritty, unapologetic – or, anyway, not overly apologetic – portrait of a time when western civilization’s future was secured with sacrifice and with blood and when subhuman savagery met with the requisite repercussions. Patrick Wilson, in a winning and physically demanding role, plays Arthur O’Dwyer, an injured cowboy whose broken leg is the last thing on his mind when wife Samantha (Lili Simmons) is abducted by “troglodytes” – a pack of cannibalistic cave-dwelling Indians straight out of a horror movie.

Joining O’Dwyer on the ride into savage territory to rescue Samantha are rock-solid Sheriff Hunt (Kurt Russell, more mature but just as badass as in Tombstone), gentleman Indian killer Mr. Brooder (Matthew Fox, who thankfully has a more dignified role than as the honky serial killer hunted by Madea in Alex Cross), and elderly, slow-witted backup deputy Chicory (Killing Them Softly’s Richard Jenkins, filling the Walter Brennan type sidekick role). Kurt Russell is Bone Tomahawk’s star power, but Jenkins practically steals the movie with his endearingly goofy interpretation of Chicory. Lili Simmons is perhaps never entirely convincing as a woman of the nineteenth century; but every member of the ensemble cast is entitled to ample applause.

Bone Tomahawk is as fine a contribution to the western genre as the present century has made; but viewers hoping for something as wholesome as Shane or even The Searchers are likely to find that Bone Tomahawk makes some fairly extreme demands on audience stomachs with its graphic and gory depictions of the troglodytes’ atrocities. This astounding outing was written and directed by S. Craig Zahler, a man whose slim résumé would hardly suggest that his first movie as a director would be such an undisputable masterpiece. “I believe those fleas are alive – and talented,” Chicory says in fond remembrance of a flea circus he once attended; and similar words could characterize this grumpy reviewer’s experience of watching Bone Tomahawk – which, if nothing else, demonstrates that the perverted parasites of the movie industry can from time to time still create a thing of actual beauty and earn the money they grab from the goyim.

5 stars. Ideological Content Analysis indicates that Bone Tomahawk is well worth seeing and:

4. Flat-Earther! The flatness of the terrain crossed by the posse causes Chicory to give voice to his doubt about the roundness of the planet.

3. Pro-marriage. Bone Tomahawk presents multiple touching examples of loving marriages. It is O’Dwyer’s devotion to his wife that drives him to drag himself to the end of his adventure.

2. Christian. Characters dismissive of faith are disproportionately the ones who meet with unpleasant ends. “You can always sell ‘em to some idiot,” doomed thief David Arquette says in defense of the Bible. The likable Chicory is a Christian, as is O’Dwyer, who calls on God for strength as he drags his tired body toward what threatens to be a suicidal raid on the troglodytes’ lair. “This is what I prayed my whole life for – for help right now.” He crosses himself on finding his wife still alive, his faith in God’s existence seeming to have been confirmed. Sid Haig’s bandit, who hypocritically demands that the Bible be treated with respect while he goes about cutting sleeping men’s throats and steals their possessions, does, however, illustrate that mere profession of Christianity is no definite indication of merit.

1. Racist! The only advantage the “four doomed men” of the posse have against the troglodytes, Sheriff Hunt announces, is that they are smarter than the subhumans. The cave-dwellers are grotesque, with animal bone piercings, and, in addition to being cannibals, blind and incapacitate their females, using them only for reproduction. This is implicitly contrasted with the comparatively high standing women have enjoyed in western civilization. The men of the frontier town of Bright Hope are respectful toward Mrs. O’Dwyer, who has even been able to study medicine and doctor the locals. Women of the twenty-first century, Bone Tomahawk would seem to suggest, would probably not be wise in welcoming white men’s eclipse in the world. Perhaps to mitigate the white-vs.-brown premise, the troglodytes appear smeared in a whitish clay pigment; while, in another ass-covering gesture, the movie includes a distinguished Indian character called “The Professor” (Fargo Season 2’s Zahn McClarnon) who explains that the troglodytes are inbred and “something else entirely” from typical Native Americans.

Brooder, who remains an arrogant but nonetheless likable character throughout the film, shoots two Mexicans who approach the posse’s camp, suspecting them of being the scouts for a raid. “Mr. Brooder just educated two Mexicans on the meaning of Manifest Destiny,” Chicory explains to O’Dwyer, who asks if they deserved it. “I don’t know,” Chicory answers with meaningful ambiguity. An ethnomasochist in the audience at a question-and-answer session with the cast and crew (included on the DVD as an extra) refers to Brooder as a psychopath; but nothing whatsoever in the film suggests this. Brooder is a good and ultimately selfless man in spite of what Chicory anachronistically characterizes as his “bigotry”. There is an awareness and an appreciation in Bone Tomahawk that in the construction of civilizations, unpleasant actions must sometimes be taken so that the greater good can be secured.

Rainer Chlodwig von K.

cooties

Elijah Wood, an aspiring novelist, shows up for his first day of work as an elementary school teacher only to find that the student body has been infected with a rapidly transmitted cannibal zombie plague, which complicates his hopes of sparking a geeky romance with faculty colleague Alison Pill. Cooties is a difficult film to review for the reason of the impression it gives of being two stylistically clashing stories forced into uncomfortable cohabitation. It is, on the one hand, a delightful take on the quirky romantic comedy genre and, at the same time, as repulsive a dose of dysfunction-inducement as has ever been splattered onto celluloid.

For the mostly harmless first fifteen minutes or so, the unsuspecting viewer might mistake Cooties for merely a fun but biting social commentary on various twenty-first century neuroses; but the extreme evisceration and the trivialization of violence toward children that follow steer the movie into an altogether darker and more upsetting territory. Cooties is wittily scripted and brilliantly cast, with several very memorable character turns from Elijah Wood, Rainn Wilson, Alison Pill, and the other adult performers; but it is too bad that their efforts work to strengthen such a remorseless assault on already collapsing demographics.

Cooties earns 4 out of 5 stars for the fine comic talent on display, but goes onto the list of films whose producers will be interned in the pitiless gulags of an imagined moral future. Ideological Content Analysis indicates that Cooties is:

6. Pro-drug. Jorge Garcia gets through the ordeal with the help of a bag of psychedelic mushroom “medication”.

5. Racist! Indulging in a bit of hipster racism, the film features a Japanese janitor (Peter Kwong) who (naturally) turns out to have mad martial arts skills. In a scene that can be read more than one way, a seemingly random reference to “shekels” creates a moment of strange discomfort in the faculty lounge. Is this a sly reference to Jewish hegemony in the world of high finance, or an indication that only socially awkward types who alienate their peers take an interest in such conspiracy theories?

4. Pro-gay. Jack McBrayer appears as a screechily drawling homosexual.

3. Liberal. With one set dressed in decorations for the school’s Fourth of July pageant, Cooties advertises itself as a commentary on twenty-first century America. Conservatives and terrorists, it seems, are to blame for turning a generation of children into rabid maniacs. The snottiest of the boys (Cooper Roth) was born on 9/11 and therefore named Patriot. His aspiration, he says, is to kick “towel head ass”. Alison Pill’s perky teacher character, however, claims to have beaten the terrorists “with a positive attitude.” Nasim Pedrad plays a shrill anti-government nutcase who ridicules the idea of evolution.

2. Pro-miscegenation and anti-white. “I always wanted to have sex with a prostitute who was non-white,” confesses Leigh Whannel in the role of a socially diseased weirdo. It is also noteworthy that the only two children to survive the zombie epidemic without being affected are a white girl (Morgan Lily) and a docile mulatto (Armani Jackson). The viewer is left to assume that these two will go on to repopulate a new and more peaceful human community. As in Reclaim, whites are invited to find hope and consolation in a racially alien pseudo-posterity.

1. Antinatalist. Set in Fort Chicken, Illinois – a name suggestive of cowardice and defensiveness – Cooties both expresses and exacerbates millennials’ anxieties about procreation, casting children as monstrous annoyances fit only for extermination. Pedrad’s character wears a “rape button”. Considering her workplace and suburban location, however, it is less likely that she fears sexual assault than that she has a problem with the prospect of adult sexual intimacy and motherhood. She and other freaks in Cooties reflect a generation’s psychological immaturity. The film, however, rewards them with a tentative survival for their determination to stamp out a possible posterity. As disturbing as the savage fire-extinguisher head-smashing and other means devised to murder children in the film are the multiple verbal associations of children and sex in a context of violence. “I’m givin’ you kids an ‘F’ – for ‘Fuck you!’” declares Rainn Wilson during the climactic battle sequence. “Fuck you, mom,” a boy tells his mother earlier in the film. Most disgustingly, a child is told to “eat a cock” as a truck’s chicken-shaped bumper ornament is rammed into his face to kill him.

Rainer Chlodwig von K.

Black Mass poster

A decidedly drab and unglamorous but still magnetic Johnny Depp appears as South Boston gangster James “Whitey” Bulger in Black Mass, a true crime film from Scott Cooper, the director of the excellent Out of the Furnace. As much as it constitutes a crime saga, however, Black Mass is also a cautionary study of ethnonationalism. The film’s handling of the material is mostly sober, but veers dangerously close to the glorification of violence in more than one sequence – with, for instance, dance floor booty intercut with the discovery of a body in the trunk of a car. Depp maintains a controlled burn throughout, and the other players – Joel Edgerton, Rory Cochrane, and Dakota Johnson among them – are also commendably strong. Definitely worthwhile for crime film fans.

4.5 out of 5 stars. Ideological Content Analysis indicates that Black Mass is:

6. Pro-miscegenation. Joel Edgerton enjoys a lewd dance with a black woman.

5. Anti-Christian, but not as vociferously so as one might be led to expect by the film’s title and the promotional trailer. Christian paraphernalia loses its meaning in the context of remorseless murderer Bulger’s participation in empty rituals.

4. Anti-drug. Aspirin doses debilitate Bulger’s son (Luke Ryan) with Reye’s Syndrome, which leaves him braindead. Bulger, while heartbroken by this, shows no concern for the neighborhood kids who buy his drugs. Learning that Bulger participated in government LSD experiments, the viewer is left to speculate that this might have exacerbated his madness and criminal inclinations.

3. Euthanasist. Bulger’s wife (Johnson) prefers to take their son off life support rather than see him continue as a vegetable. “He’s never gonna be our little boy again, ever. […] He’s braindead. He’s on life support. He can’t move, and I don’t want him like that. I can’t have my little boy be like that. I’ll pull the plug myself. I will.” Clashing with the mother’s reasonable assessment of the situation is Bulger’s irrational anger as he curses his wife, kicks over a chair, and knocks a table on its side, with the heavy irony here being that a gangster and murderer, of all people, has become the advocate for the sanctity of human life.

2. State-skeptical. Government is only as worthy as the men who fill the responsible posts. The Winter Hill Gang bribes “local street cops, feds, whatever” in exchange for the cooperation of authorities.

1. Anti-white. Black Mass opens with an interrogation conducted by a federal agent resembling Eric Holder. James “Whitey” Bulger’s nickname is highly significant, as well, as is brought to the fore in a brief scene in which a black man tells him, “This ain’t your neighborhood, Whitey,” and receives a brutal beating in reply. Bulger is an Irish nationalist determined to retake territory from Boston’s “oppressor” Italians, and he and his gang have nothing but contempt for an Irish-American “turncoat motherfucker” like Officer Flynn (David Conley), who works for the other side. Bulger, as his empire grows with the help of childhood acquaintance and FBI investigator John Connolly (Edgerton), who sees to it that the Bureau overlooks his activities, even assists the IRA with shipments of arms. “What is written on a piece of paper [i.e., law] is less important than blood,” Connolly excuses his actions.

“The only time he ever seemed happy was when he was talking about the IRA,” one of Bulger’s associates remembers – the implication being that European ethnic exclusiveness holds a special attraction for gloomy people with unsatisfying lives. The name of the boat, the “Valhalla”, used to transport the weapons, carries associations with Nordicism and Nazism, and that Black Mass should be largely concerned with discrediting ethnonationalism is hardly surprising when Hollywood Zionist sleazoid Brett Ratner’s name shows up in the end credits as an executive producer. Ethnic solidarity is framed as a hollow ideology providing protection for white crime and terrorism. Bulger’s “code of honor”, furthermore, does not prevent him from introducing drugs into his own neighborhood. A Jewish actor, Corey Stoll, plays the upstanding FBI investigator who finally brings “Whitey” Bulger to justice.

Rainer Chlodwig von Kook

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Prick Cadillac

Oozing down the street, indeed. Make no mistake, fellow social justice warriors: Bruce Springsteen is pure, unadulterated pink slime.

[Ideological Content Analysis is both pleased and privileged to bring readers this thought-provoking and patriarchy-challenging guest post by Rokuro “Rocky” Roth-Hideyoshi, roving pop correspondent for Beat/Down: A Journal of Queer Quriticism and Aural Experience.]

Does any circumstance better illustrate the unrepentant heteronormative and intra-racial supremacy of corporate radio than the fact that “Pink Cadillac”, Bruce Springsteen’s hate-saturated 1984 B-side to the disturbing “Dancing in the Dark”, continues to receive occasional airplay on nominally non-Aryanist networks and to be hosted on YouTube and other popular websites without censorship or content disclaimers? As Kevin Ransom writes, it is one of those “songs that have practically been pounded into cliché by super-heavy radio rotation.” Springsteen’s ersatz protestations of anti-racist commitment are never convincing – a case, one suspects, in which, as Hamlet would put it, “the hater doth protest too much” – and even assuming the “Boss” has the best and most progressive of intentions, his social justice eruption insurance premium is always going to be on the high side in view of the unforgettable wreck that constitutes his “Pink Cadillac”.

An unabashed paean to European-American sexual exclusivity as well as a puerile celebration of priapic chauvinism, “Pink Cadillac” concerns the leering interest of its self-aggrandizingly amorous protagonist in the “back”, i.e., posterior, of a womban’s “Cadillac”, or objectified, dehumanized, commercialized, and customized “crushed velvet” body – conceptualized in this instance as an empty vehicle-vessel requiring a licensed (i.e., privileged) driver – which is, of course, to say an owner. “But my love is bigger than a Honda, it’s bigger than a Subaru,” he insists, betraying his insecurity while at the same time perpetuating the adolescent cruelty of the miniature Asian male sexual organ stereotype. Springsteen is one of those white men who only feels adequate when he has succeeded in making the other – in this case, the “yellow man” he fantasizes about killing in “Born in the U.S.A.” – feel small and marginalized.

The economic context, one must also remember, found the American worker and music consumer – Springsteen’s primary audience – uncertain about the future of their country’s industrial base in the face of Japanese electronics and automotive competition after nativist propagandists had largely succeeded in riling white Americans into a paranoid frenzy about global trade and the opportunities this presented for economic development in an increasingly interconnected and justice-seeking planetary order. The butt-wiggling braggadocio of the “Boss”, then, must have provided a powerful salve to the chafed egos and bruised sexualities of a generation of self-absorbed and privileged white males in desperate need of perpetual reassurance. Losing at one game, he plays another: reproductive protectionism.

Bruce Springsteen

In 2016? Really?

“Honey, I just wonder what you do there in the back of your Pink Cadillac,” he declares, hovering hairily over the listener, who feels herself almost compelled to detect the beer that is undoubtedly on his breath. He positively belches a pushy, intrusive curiosity about the sexual history of an unnamed female-gendered person, and one is left to glean from the rapist protagonist’s later reference to Eve that Springsteen is addressing a womban. Invading her mental and physical space, he commands her to “come on over here and hug me” in an attempt at projected volition so as to facilitate his intention of sexual assault and simultaneously implicate the victim as an accomplice in his own act of non-consensual violation. His invocation of Eve, too, serves to shame the target of his transgression into complicity by establishing a useful correlative with the temptress of myth.

The song, which Springsteen wrote in its first version under the rapey title “Love Is a Dangerous Thing” in 1981, took on anti-Semitic and white supremacist overtones as it devolved into what would become the honky-tonk clunker “Pink Cadillac”. In an erratic aside, the “Boss” – knowing he has the undivided attention of his impressionable audience – actually interrupts the assault to address his male listeners specifically, wishing to issue a warning to them about an imagined Jewish peril. “Well, they tempt you, man, with silver, and they tempt you, sir, with gold,” he rants, going on to espouse the canard about how the Joooooooz also “tempt you with the pleasures the flesh does surely hold.” Honestly, Mr. Springsteen? In 1984? The “Boss” confirmed for the world the depth and grossness of his anti-Semitism and sexism when he forbade peerless diva Bette Midler to include a cover of “Pink Cadillac” on her 1983 album No Frills.

Springsteen also revealed his frightening adherence to the white supremacist beliefs of the Christian Identity cult when he prefaced a live 1984 performance of “Pink Cadillac” with these contextualizing remarks: “Now, this is a song about the conflict… between worldly things and spiritual health… between desires of the flesh… and spiritual ecstasy… now, where did this conflict begin?… well, it began in the beginning in a place called the Garden of Eden… now, the Garden of Eden was originally believed to have been located in Mesopotamia… but the latest theological studies have found that its actual location was ten miles south of Jersey City, off the New Jersey Turnpike… now, understand, in the Garden of Eden, there were none of the accouterments of modern living… I mean they didn’t have no Laundromats, they didn’t have no like, like little toasters you could put your Pop-Tarts in and then watch Johnny Carson on TV…”

Relocating the Garden of Eden from the geographical Middle East to some presumably pristine white enclave of the American imaginary when it was still free of the tacky consumerist dreck and mass media “brainwashing” peddled by the stereotypical Jewish merchant caricature of anti-Semitic propaganda, Springsteen casts Adam as the progenitor of the Aryans, whom he believes to be the living embodiment of Israel. BDS activists have attacked Springsteen for the singer’s apparent willingness to tour the Zionist state this summer; but these misguided crypto-racist neckbeards miss the point entirely. Springsteen, if the dark history of “Pink Cadillac” is any indication, is venturing to Israel not to entertain the evil Joooooooz, but to conquer and occupy what he, in the fever of his sweaty, race-crazed delusions, regards as the rightful lebensraum of the Aryan Nations of Jersey.

No wonder a 2012 study found that listening to Bruce Springsteen music for seven minutes can turn normal people into racists!

Rokuro “Rocky” Roth-Hideyoshi

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[Ideological Content Analysis is pleased to present a guest review of the psychoactive pseventies TV artifact The Point by Germanicus Fink.]

PointThe Point was the ABC movie of the week and aired on February 2nd, 1971. Since television was the most popular form of home entertainment at that time one can easily deduce that they wanted as many people as possible to see it. Also, since it was broadcast on a Tuesday evening rather than on a weekend, it’s also safe to assume they wanted young people to see it because, Tuesday being a school night they knew that most kids would be stuck at home.

This film was such an obvious instance of social engineering it’s actually kind of redundant that I’m even bothering to review its ideological content, but I think the fact most people have either long forgotten it or are too young to ever have seen it makes the endeavor somewhat worthwhile.

The movie was allegedly based on the Harry Nilsson album of the same name; but, considering the movie aired only a month after the album’s release, clearly the two projects were more closely intertwined than that.

PointNilssonNilsson, at least according to my facile research, was not himself Jewish, but Norm Lenzer who wrote the screenplay for the television movie, obviously is.

According to Nilsson, who was a pretty popular songwriter and musician in his day, the idea for this album was conceived when he was on acid and he had an epiphany where he said to himself, “Oh! Everything has a point, and if it doesn’t, then there’s a point to it.”. It must have been some weak acid if that was all he got out of it.

Actually, the acid story was likely a lie. It was very popular at the time to ascribe inspiration for well-known contemporary artistic works to drug experiences. The thinking was that these ideas were already out there, floating around in the zeitgeist, and that certain substances made you more sensitive to these ‘cosmic trends’. However, anybody with any idea of what’s actually going on knows this is nonsense and that really all these subversive concepts were deliberately injected into the mass consciousness by manipulative little Semitic trolls.

So, contrary to what your old, burned-out hippie aunt or art teacher tells you, things didn’t change all by themselves because the “time was right”. That kind of talk is all just empty-headed, new age baloney.

The feature is animated in that intentionally sloppy and scribbly style which was pretty common in the late 60s and early 70s. The songs were made to sound sedate and old-fashioned. There was a “nostalgia craze” around this time, an obvious reaction to all the new toxins our hostile elites were starting to force-feed us in ever increasing doses. Naturally, faced with all this new insanity most people pined away for simpler times when life actually made some sort of sense. Of course those Chosen hacks also cleaned up on exploiting that aspect of the madness they choreographed. They never miss an opportunity to turn a buck.

I’ve provided a link to this movie on Youtube. This version is narrated by Ringo Starr. They used Dustin Hoffman in the televised presentation, which I thought worked much better, but due to a contractual conflict they had to ditch him for the video release.

Anyway, on to the actual film:

PointOblioWe are shown a town where everything has a point, even the people. Everything and everyone has a point directed at the heavens until one day a child is born named Oblio, who has no point at all, just a round head. To compensate for his deformity, he wears a pointed cap while out in public.

Oblio is a happy, sociable, and well liked kid until one day, after being challenged to a game of “triangle toss” by the Count’s evil son, he soundly defeats him in front of a cheering crowd of their school mates. Triangle Toss is the official sport of the Pointed village and is played by catching a triangle on the point of one’s head. Since Oblio suffers an obvious handicap here, he is permitted to play assisted by his dog Arrow who has a long pointed snout.

Interesting side note here, keep in mind this was the early 70s so all these communist ideas had yet to take firm root in this country. Although all the pointed townsfolk are orange, the evil Count and his son are dark purple and the good guy, Oblio, is bright White. LOL!

The count is so outraged that Oblio defeated his son in front of all the young men in the town that he holds a tribunal and insists Oblio be banished from the town for “not having a point” which violates the letter of the law of the Pointed Village.

While this meeting is in session, we hear one of the women in the audience say to another woman who confessed to feeling sorry for Oblio, “Listen, neither one of us were born yesterday, and we both know that if we let one of Oblio’s kind stay, ugh, before long the whole village will be crawling with…”  I like how the opposition likes to quote things we may have said or thought back at us in a mocking way while always neglecting to explain exactly what is wrong or mistaken about such sentiments. This is a psychological trick they use. It’s enough to make us look or feel ridiculous. There is little need to give a cogent explanation of the facts of the matter after successfully having done that. Again, they always play directly on the emotions and entirely bypass rational thought.

Funny side note here: It seems that this movie is saying negroes are pointless.

In another scene soon after the above mentioned, some other woman was going on about what a polite kid Oblio was when a man interrupted her by saying, “Yeah, but would you want your daughter marrying one?”, and the woman responded by saying, “You are baiting me! You are deliberately baiting me!”, which, again, evades answering the question, “How would you feel about your offspring mixing your genes with a freak?” Concerns like these are not altogether as groundless as they would have you believe.

PointRingoThe tribunal decides, although reluctantly, to banish Oblio and his dog into the Pointed Forest which surrounds the village.

In the next scene we see the whole town gathered at the gate to see Oglio off. “Stay loose O!” we hear one person shout as he is leaving to the Pointed Forest and all the contrived adventures that await him.

Upon entering the Pointless Forest the first entity they encounter is a three-headed being called the Pointed Man who checks in with Oblio and his dog from time to time throughout the film. Evidently, even in the Pointless Forest one needs someone with a point to point things out to you, but according to this character himself, “To point in every direction is the same as having no point at all”. I really don’t know how people back then were able to even stomach this pretentious crap.

Later Oblio encounters a rock man who tells him, “Us stone folks are everywhere, just open your eyes and look around you. There’s a whole family of us rock folk”, and, “You don’t have to have a point to have a point”. I think by now we can all see where this is going and what the message is they are trying convey to the young people of 1971. It was only seven years since the Civil Rights Act, and six years after the Open Immigration Act so they were busily paving the way through the American mind toward that jewtopian, multicultural, gender-fluid Nirvana that was looming large on our collective horizon!

Then they discover a bottomless hole that throws a pie into their faces after singing them a song about loneliness. This one segment epitomizes the Semitic entertainment industry as a whole in my opinion.

After they venture deeper into the forest they meet an enterprising Jewish tree who claims to be in the leaf business and doesn’t want to let anyone step on his leaves claiming it costs him money because he turns “green leaves into greenbacks”. The Jewish tree then offers Oblio and Arrow what he assures them is a golden opportunity in the leaf business. However, when they inform him “they have no roots”, the Tree man retracts this offer.

PointCoverAfter this Oblio and his dog are abducted by a giant bird that deposits them on a giant egg. The huge egg then hatches, revealing an exceedingly small bird, whom Oglio tries to converse with. He interprets all his various squawks as questions and he strives to answer them all. This is the whole movie in a nutshell, answering questions nobody has bothered to ask in the first place.

The Pointed Man then shows up, and during the course of the mostly one-sided conversation he mockingly tells Oglio he’s “thinking”, and that “thinking is very destructive indeed! If a person does enough thinking, knowledge is sure to follow. The results, Sonny Boy, is a life of misery!”  That certainly would not result from this kind of ersatz thinking and questioning, which is more along the lines of a guided tour through a nursery. It avoids hard-hitting questions and, most importantly, does not question or interfere with the powers that be. Shoot a bit higher, however, and the results could be fatal! However, it’s perfectly safe to question your parents and religious leaders (unless you happen to be Jewish). Hell, you should question ALL authority! At least, that’s what they were telling us young folks back in the 1970s before these aliens completely commandeered the establishment.

After this corny exchange the Pointed Man again vanishes. Oblio wonders aloud where he always vanishes to and he pops back briefly to inform him, saying, “The Vanishing Point, naturally!”

Right after this he has to rescue Arrow, who has somehow slipped into this hidden dimension. (For some reason Jooz are obsessed with hidden dimensions and alternate realities. Something about their own deceptive natures possibly?) “That vanishing point. Hmpf! It only made it so I couldn’t see you, it didn’t make it so you really weren’t there!” Oblio muses to himself. Then he goes on to say, “I’m starting to think that the Pointless Man, as nice as he was, was the only pointless thing in the forest…I don’t think having a point on your head is so important after all. It’s what’s in your head that’s most important!”

After Oblio arrives at this disingenuous conclusion he heads back to the Pointless Village where he is accepted back with much boisterous fanfare and announces to the ecstatic citizens that everything has a point, exclusive of whether or not they display a physical point on their bodies.

All the while the Count frantically tries to shout everyone down like an overexcited, irrational hothead. Anybody who dares question the social conditioning is always portrayed as a frothing, senseless lunatic.

After Oblio presents his piece, the Count knocks off his pointed cap in a fit of anger, revealing that now Oblio actually has a point on his head! Then the points disappear from the heads of the evil Count and his son who immediately run and hide from humiliation and fear!

Inexplicably, after Oblio had grown his own point, all the people and buildings in the village lost theirs! This all makes even less sense than Oblio being welcomed back into the village after he was officially banished. This is never explained as it occurs at the tail end of the film, nor can I think of any rational reason for such an outrageous and unexpected turn of events!

The only explanation I can concoct to answer for this is that this film was an autobiographical effort about the Jews themselves and how they were exiled from various European countries and how they managed to turn everything upside down after they had managed to worm their ways back in the last time. Of course this was done through deception and trickery but don’t expect them to confess to that.

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

4. Pro-family. A father reads a story about a kid who lives at home with his mother and father to his own son.

3. Anti-drug. The film shows no drug use or drinking, which is pretty amazing since everyone in the entertainment business at the time was hopped up on something! [But the fact that Nilsson acknowledged LSD as an inspiration makes The Point, if not explicitly, then implicitly, an extrafilmically pro-drug effort. – Ed.]

2. Pro-pedophilia. The candy shop owner gives Oblio a candy bar as he leaves for the Pointed Forest, and on his return he shouts out to him,  “Come by the shop Oblio! I have some butterballs for you! Round! Completely round!”

1. Pro-Diversity. I don’t think I should have to explain why since that’s a no-brainer.

Germanicus Fink

[Read Germanicus Fink’s review of Party Monster here.]

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Beloved Sisters

This German film tells the presumably somewhat true story of two sisters, Charlotte (Henriette Confurius) and Caroline (Hannah Herzsprung) von Lengefeld, and their shared love for Friedrich Schiller (Florian Stetter), a charming poet of frail health and uncertain fortunes. The offbeat romantic scenario and the performances are intense and largely engrossing, the love scenes erotic without being obscene; but costume drama buffs expecting another Pride and Prejudice may be put off by the gradually darkening tone of the film, which takes on the character of a tragedy without ever becoming a tearjerker, however. Beautifully staged and photographed, with a few quirky stylistic choices such as having characters address the camera directly, Beloved Sisters is unique and never feels like a run-of-the-mill Austen-derivative programmer.

4.5 out of 5 stars. Ideological Content Analysis indicates that Beloved Sisters is:

6. Pro-choice. “Do you want to have the child? … Why?”

5. Anti-Christian. A mother whose bastard child is of an uncertain paternity is compared to the Virgin Mary. Schiller also recites from one of his writings dealing with the inhumanity of the Inquisition.

4. Feminist/pro-gay. The sisters, who share Schiller sexually, also dress as men in order to attend one of his boys-only lectures. Caroline longs to be “a free woman, a single woman.”

3. Anti-marriage. Beloved Sisters depicts multiple unhappy unions, with marriage described as “tragedy”. Caroline’s husband is an “evil elephant” who “wants a dozen children, but only because he won’t come into his father’s inheritance otherwise.” Consequently, he “keeps pestering” her. The sisters, says Wilhelm (Ronald Zehrfeld), sent Schiller “not to paradise, but to the solitary confinement of marriage.” An incident in which a woman who fakes her death to escape her boring husband and run away with her lover demonstrates “international flair”.

2. Reactionary! Initially, Schiller is a naïve radical fired by the ideals of the Enlightenment. “I think humanity will evolve through knowledge and the sight of true beauty,” he says. Later, in the bloody wake of the French Revolution, and after having heard the horror stories of his friend Wilhelm, who has witnessed the carnage of the Terror firsthand, Schiller has more sobering thoughts. “Shouldn’t we have known, Wilhelm?” he asks. “Yes,” his friend replies. “Everyone who rang the bell for renewal should have known.”

1. Racist! That a movie – a German movie, no less! – would have the nerve to present a primitive, pre-multiculturalist Europe as something other than a totalitarian nightmare, and a place, indeed, of great natural charm and civilizational order, is a crime that this critic cannot forgive. Internet bigots obsessed with those supposed Cologne “attacks” will no doubt find much to admire in this dainty, escapist portrait of a racially homogenous society.

Rainer Chlodwig von Kook

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