← Autodidact Archive · Original Dissent · mwdallas
Thread ID: 16451 | Posts: 4 | Started: 2005-01-27
2005-01-27 00:15 | User Profile
Added 1/25/05:
[B]The Plainsman[/B]
[I]A White Nationalist Classic.[/I]
"The Plainsman" starring Gary Cooper and Jean Arthur was produced in 1937 by that legend of film, Cecil B. DeMille.
Once you have seen "The Plainsman", you will understand why DeMille - who had the temerity to produce all those Christian epics such as "The Ten Commandments" - and has been maligned by Hollywood from classic film noir such as "Sunset Boulevard" to the modern and very ugly Hollywood insider farce, "Cecil B. Demented."
"The Plainsman" is a drama about two army scouts who are trying to track down a White merchant who is selling repeating rifles to the Indians.
The most remarkable aspect of the film is an explicit political discussion in Washington D.C. by a group of wealthy Civil War profiteers and political backers of Abraham Lincoln about the price they might get for the new repeating rifles they are manufacturing by selling them to the Indians. One of the political contributors objects, claiming that the rifles would be used to kill White men, but the other decides to sell them anyway.
The movie has lots of pitched battles between army units and Indians, but the major theme is race treason by our elites.
It is a gem and a White Nationalist Classic.
Yggdrasil-
Added 1/24/05: [B] Arrowhead[/B]
[I]A White Nationalist Classic.[/I]
This is another movie I would have produced myself if I had unlimited resources.
"Arrowhead" was filmed in 1953 and stars Charleton Heston. Its plot demonstrates that individual preferences and delusions give way to group identity during racial conflicts.
Charleton Heston plays Ed Bannon, an ex-Confederate soldier (still wearing his grey uniform trousers) working as a civilian scout for the Union Army after the War. Bannon grew up among the Apache and is an expert at tracking them and at anticipating their movements.
The Union Army officers have orders to make peace with the Apache and keep them on their reservations. They have delusions to match - delusions which Ed Bannon continuously argues against. Bannon knows that the Apache will pretend to make peace in order to gain an advantage in war.
The most remarkable feature of this movie is the series of personal inter-racial attachments which unravel in the face of racial conflict.
One of the White officers befriended the Apache leader, Toriano, at school and became his "blood brother." Mid way through the movie Toriano enters his office at the fort and shoots him while unarmed.
Bannon himself has a servant or "laundress" of half Mexican and half Apache descent with whom is also apparently having sex, but clearly does not love. The precise nature of their relationship is implied only and not shown explicitly - as was the norm in 1953. The half-breed laundress turns out to be a spy planted at the fort by Toriano. She attempts to kill Bannon in his sleep.
This movie is remarkable because it illustrates so many of the principles which apply to racial conflict:
Those on the frontier or border of the race have the most contract with the alien and have greatest degree of distrust and antagonism toward the alien. This distrust is not a "prejudice" based on the opinions of others, but rather is born of real world experience and extensive direct contact. Distrust is essential for both individual and group survival, because it has predictive power, as is shown with such force in this movie. Only those without such direct contact can entertain delusions which cripple their ability to defend themselves.
Extensive personal contact tends, over time, to exacerbate group conflict rather than decrease it, as individual status competition and conflicts between mingled members of different races tend to personalize the broader racial resource competition and conflict. Extensive childhood friendships with Whites and an Eastern boarding school education among deluded liberals only personalized and intensified Toriano's hatred and taught him the skills of concealment. Apache leaders without such contact were capable of making peace after Toriano was dead.
Interbreeding and hybridism tend to exacerbate group conflict, as interracial unions tend to split families and personalize the racial competition. Rejection by members of the extended family takes on a racial flavor and heightens racial sensitivity and anger in the race mixer as well as his or her relatives who do not mix. The hybrid offspring themselves often lack the balance between amity and enmity which children from racially homogeneous families and communities normally possess. For the half-breed, extreme expression of enmity is the one way to achieve group identity, as displayed so graphically in history by Lenin and Castro, and in this movie by Bannon's laundress.
In the end, after killing his Apache laundress, Bannon returns to the racial fold by accepting a white woman as his new love interest as he sets out to rescue his fellow whites from the consequences of their delusions.
It is a gem and a White Nationalist Classic.
[B]War Arrow[/B]
[I]A White Nationalist Classic.[/I]
"War Arrow" is another classic from the year 1953, starring Jeff Chandler and Maureen O'Hara. It deals with the racial conflict between the White man and the American Indian in a unique way.
What sets this movie apart from the others is the remarkable clarity with which it illustrates the attempts to divide races - pitting sub-groups and tribes against one another to gain advantage in the larger racial competition.
Jeff Chandler plays Major Howell Brady, sent by Washington to rescue an Army outpost under siege by an unusually effective uprising by Kiowa Indians.
Brady's orders are to induce the Seminole Indians - recently moved West from Florida - to fight against the Kiowa in exchange for fertile land. After all, why get White soldiers killed when Indian tribes can die for the White man's cause? It is a classic imperialist maneuver, designed to decrease the cost of maintaining control over alien populations by pitting tribe against neighboring tribe.
What Bannon does not know, is that a group of Mexican landowners - angry at losing their lands in the War with Mexico - are playing the same game in hopes of getting their land back, promising a former Confederate officer a fortune if he will desert the Union Army and organize the Kiowa to drive out the Yankees.
Thus, the movie contains a remarkably clear and candid exposition of the fundamental nature of multi-racialism and multi-culturalism. The combatants will always seek to exploit the process of internal group differentiation within a competing race in order to gain an advantage over that race - whether the competitive arena is the field of battle or the supposedly democratic legislature.
And for the ladies, there is a strong romantic subplot starring Maureen O'Hara.
It is a gem and a White Nationalist Classic.
Yggdrasil-
2005-01-27 12:30 | User Profile
It's all so very confusing. "White Nationalists" are usually the first to accuse DeMille of being a crypto/secret Jew!
Otherwise, I think I can save Ygg some labor here. Most Westerns - of [I]any [/I] era - will tend to be "White Nationalist classics". It's sort of built into the genre, y'know? It's one reason why I've never bought into that relatively-recent cultural meme of [I]the cop movie is merely the modern Western[/I]. Errrm....no. Not even close.
As will the majority of pre-60s boys'-own-adventure films such as THE FOUR FEATHERS, GUNGA DIN, CAPTAIN BLOOD emerge as "WN clasics" in hindsight.....hell, even THE MARK OF ZORRO qualifies (as Zorro is clearly depicted as a white Spanish aristocrat visiting his colonial-governor father in Mexico).
No disrespect to Ygg, who has written with great insight into popular culture (a topic that - among major and minor WNs at least - is either reflexively abhorred en masse or judged by schizophrenic-at-best standards) but the far thornier sorts of movies, insofar as WNs are concerned, are those made after 1968 anyway.
Even though the pre-68 model was as [I]Judenrecht [/I] as today’s, and the WW2 and post-WW2 era began the trend towards subversion of the majority will; and even though there has never been an explicitly WN film made in this country [I]as WN is now commonly perceived[/I], the default worldview providing the foundation for the vast majority of popular entertainment, regardless of genre, prior to 1968 can be safely ingested by awakened whites without release of any but minor, easily-eliminated, toxins into the bloodstream.
The lamentable but unavoidable fact is that what we today must risk censure and opprobrium to articulate (with as much in-fighting as out-) was so [I]thoroughly internalized [/I] by Western societies of old as The Way Things Are that they never needed to be codified into spoken words - or even privately recognized and acknowledged. (The way I don’t need to ponder the sun, or swear allegiance to it, to know it will rise every morning without fail.) Thus the “WN” content of old pop-art is never overt, will almost never dwell upon heaping scorn on non-whites, but instead manifest itself in approving, if not idealized, images of white values and white society.
This, alas, is a luxury we no longer have. Like the whore awaiting her umpteenth shot of penicillin who, upon reflection, liked being a virgin better, we can look longingly to more innocent times – I certainly would like nothing better – but it doesn’t change the fact that [I]where we are is where we are[/I]. Still, I salute Yggdrasil for pointing people towards selected still-frame snapshots of the past. While it’s not a [I]solution[/I], even the most flawed myths which ennoble us are a powerful, and necessary, trigger towards not just stirring, but [I]constructively focusing [/I] the inchoate resentments in thinking white Americans which are currently being manipulated towards evil ends by Ziocons, or whipped into irrelevant lather by the Nazi fetishists.
2005-01-29 00:02 | User Profile
[I][B] - "It's all so very confusing. "White Nationalists" are usually the first to accuse DeMille of being a crypto/secret Jew!"[/B][/I]
According to Jewhoo, DeMille was biologically half-Jewish:
[COLOR=DarkRed][B]"DeMille's father was not Jewish. His mother was an English Jewish woman who had converted to Christianity. DeMille, of course, was not raised Jewish and he was not happy to be thought of as Jewish or part Jewish. His Jewish background was hardly known during his lifetime and it is essentially something his biographers have "dug" up."[/B][/COLOR]
Jewhoo does, however, strengthen the idea that Jews do not like DeMille, for it makes several snide comments about him, like this:
[COLOR=DarkRed][B]"DeMille was a wound-up type "A" personality who hated anyone or anything that challenged his control of his fiefdom. (As a co-founder of Paramount he wielded much more power than most directors). DeMille was a vociferous opponent of the successful drive to unionize the film industry in the 1930s. In the 1950s, he got his 'payback' when he could put someone on the blacklist or take them off with one phone call. He remembered who the union organizers were." [/B] [/COLOR]
Anyways, it's funny for Yggdrasil to say that DeMille "[I]has been maligned by Hollywood from classic film noir such as "Sunset Boulevard[/I]" - when actually DeMille had an acting part in that movie, playing HIMSELF! Apparently he was quite enthusiastically participating in his own malignation! :tongue:
Petr
2005-01-29 09:30 | User Profile
[QUOTE]Apparently he was quite enthusiastically participating in his own malignation! [/QUOTE]
No malignancy about it. DeMille is presented as "Mr Paramount"in the movie: the one moviemaker whose attachment to a project guarantees its blockbuster status. (He's also shown as quietly thoughtful and loath to subject the aging heroine to any sort of humiliation.) His small role in SUNSET BOULEVARD also arrived in the middle of his most successful period, about to top one box-office smash (SAMSON AND DELILAH) with two even bigger ones (THE GREATEST SHOW ON EARTH & THE TEN COMMANDMENTS); it was clearly a boost to his image and helped keep his profile high.