← Autodidact Archive · Original Dissent · il ragno
Thread ID: 6307 | Posts: 5 | Started: 2003-04-24
2003-04-24 13:45 | User Profile
Interesting take from OVERTHROW's Bill White, but I think he's mistaken about Greenbaum. From what I recall, the real-life model for the movie was a guy named Dan Burros. Of course, many many liberties have been taken - enough so that there really IS no 'model' for the character outside of the filmmakers' intentions. Might make a good double-feature with MR DEATH, though.
[url=http://www.overthrow.com/lsn/news.asp?articleID=4777]http://www.overthrow.com/lsn/news.asp?articleID=4777[/url]
The Believer A Look Into A Diseased Mind
4/23/03 9:08:00 PM Discuss this story in the forum Bill White
Movie Review -- I can't decide right now which is sicker: the mentality of the Jew who wrote the movie the Believer, or the fact that I am able to sufficiently bend my thoughts around the film to understand it -- and be suitably repulsed by it. The Believer is this "controversial" film obstensibly about a Jew in the white nationalist movement. In reality, it is a psychoanalytic study of how Jews view white nationalists and how that view relates to themselves. It is an exploration of Jewish pathology worthy of Kafka, Marx or Freud. I think most white people who view it will find it boring; those who don't will find it repulsive.
The movie is about Jews and Jewish life and Jewish feelings about Judaism, and it is because of that that it has seemed so dangerous to groups like the ADL, who have "cautioned" viewers about it. There are insights into the Jewish psychology which are so clear that even non-Jews could pick up on them; the idea that Judaism is an empty and meaningless religion -- a form of pathology -- that has given birth to an equally empty and meaningless culture and a variety of pathologies -- from self hatred to hatred of others -- is key to the film.
Equally key to the film is the manner by which the characters are developed. The best evidence that this is not a film about white people or white nationalism is the fact that only the Jewish characters are developed or undergo change; the white characters exist without depth and they act in a manner that is not consistent with the real behavior of real white people. the best way to view the portrayal of white nationalism in the film, and the protrayal of all things in the film in general, is that what the film is trying to convey is that impression that Jews have of the world, and not the real nature of the world itself. The "white nationalist" world in which the main character exists is "magically real" in the sense of a Gabriel Garcia Marquez story -- or of the lead article any day in the New York Times. The film portrays the world as the product of Jewish imagination; the portrayal will be familiar to those who consume Jewish sitcoms, Jewish television news, or cheap Jewish novels from the local bookstore.
The character is a Jew in conflict with his Judaism. He is not properly a self-hating Jew. He is a Jew along the lines of Weininger; he is the Jew as radical Zionist. In fact, in his early conversation with the Rolling Stones reporter (in a scene that reminded me of a real life confrontation between a Rolling Stones reporter and the Jewish Nazi wanna-be Andrew Greenbaum, for those who remember him), he quotes Weininger's thesis on the Jew as feminine extensively.
However, the hatred of Jews that the main character has is a hatred of Jews from a Jewish perspective. His understanding of white nationalism -- the white nationalism he alleges to participate in -- also represents hatred of Jews from a Jewish perspective. During the film he lectures to white nationalists on the reason that "we" hate Jews -- he alleges that "we" hate them because they are beautiful, more sexual, more intelligent, wealthier and smarter than "we" are. Personally, I have known many people who dislike Jews; I have never known anyone who disliked a Jew because they thought the Jew was better than them. The real reasons that real people dislike Jews is because they are dishonest, vicious, wicked and hateful towards non-Jewish people; Jews are not hated because they have power, they are hated when they use power to exploit and to kill non-Jews, and they are hated as Jews because their inherent Jewishness drives them to do that regardless of what they really desire. A real portrayal of the inner story of the Jew -- the story of their real inner turmoil -- would be an expression of their human desire to do good in light of their Jewish inability to do good; the fantasy that whites dislike Jews because the Jews are somehow better is solely a Jewish cop-out designed to keep them from recognizing this inner reality.
That fantasy marries several others in the film. At one point a woman professing to be a "Holocaust" survivor alleges that the Germans tried to rape her in a concentration camp; of course, even most Holocaust mythologists don't make the assertion that the Germans systematically raped Jewish women. In fact, the German racial mentality made the systematic rape of lesser women something abhorrent; the only nations who ever raped the innocent in Germany were the Soviets and, to a lesser degree, the Allies who occupied it after World War II. The Jewish communists correctly saw that their rape of higher human beings was a type fo defilement, and as Jews they reveled in that defilement.
A third fantasy occurs when a man states that a German sergeant bayoneted his child in front of him. The Jewish myth of the German Nazi as a heartless child killing monster trumps the reality of the German Nazis as relatively peaceful people who were noted for their kindness to children and animals. Other Jewish fantasies on the Holocaust theme abound as well; even the fundamental assertion, that people were sent to labor camps because they were Jews, and not because they were usurers, speculators, abortionists, communists or other exploiters of the poor, is a falsehood chracteristic of the Jewish collective mind.
And it is cop-outs like that, and perversions of the real world, that make one realize that what we are seeing is the big mess that is the inside of the Jewish head, and not a movie designed for exploration of the real world. I can understand the mentality that can see one's self turned into a giant cockroach and then seriously contemplate what living as a cockroach can mean; I am also aware enough of what is true and good in this world to ecognize that any human being who possesses that mentality is sick and should be quarantined from the healthy world. I don't see movies that explore such things as if the questions had legitimacy, and were not themselves reflections of pathology, as serious films from which meaning can be taken; instead, like the rantings of the Weekly Standard of David Horowitz, they are a phenomenon to be critically examined. The difference is a bit like that between contracting a disease and studying it for the purpose of healing it; it is a difference between night and day.
There is a history of films about skinheads made by directors who do not have sympathy with or understand their subject material. Spike Lee's Higher Learning was perhaps the worse -- an examination of skinheads from the perspective of an angry black man -- but all the others in the genre, from American History X to Romper Stomper fall into the same mold. The white characters are ridiculous stereotypes; their actions are unrealistic; their doctrines and their conversation don't match real white nationalists at all.
There may be some interest in this film for those who are curious as to how Jews perceive themselves and their hatred of themselves; there is nothing in the film for those who are interested in white nationalism and how whites perceive Jews. I don't know what real story this could be based on; I see snippets in it of everything from the life of Andrew Greenbaum to the plot of William Pierce's Hunter. But one thing I do not see in it is a real white perspective or a real, meaningful look at Judaism and its role in the modern consciousness. Instead we have another example of narcissistic Jewish self- examination, no more meaningful or attached to reality than their Holocaust fables or their latest show on the televitz.
During the film he lectures to white nationalists on the reason that "we" hate Jews -- he alleges that "we" hate them because they are beautiful, more sexual, more intelligent, wealthier and smarter than "we" are. Personally, I have known many people who dislike Jews; I have never known anyone who disliked a Jew because they thought the Jew was better than them**. **
[color=purple]Well, I know one. But maybe his yarmulke's showing, too.[/color]
2003-04-24 16:31 | User Profile
Bill White has a powerful grasp of the fact that it is the Jew not the anti-Semite who is the aberration in this world. This gives him an absolutely unshakable courage in his conviction.
"Asemitism" is the natural condition of all non-Jewish mankind. When the Jew shows up in a society and starts distorting and poisoning the culture, asemitism turns into anti-Semitism. For whatever reason in America, the asemitism never properly turned into anti-Semitism. America is so bitterly confused and Semitized that it's impossible for most people to identify the Jew as the freak that he is. :nerd:
2003-04-24 20:55 | User Profile
I actually parted with a handful of shekels to see this flick and came out thinking it was not a complete waste of time, i.e., the content was not devoid of entertainment.
His understanding of white nationalism -- the white nationalism he alleges to participate in -- also represents hatred of Jews from a Jewish perspective. During the film he lectures to white nationalists on the reason that "we" hate Jews -- he alleges that "we" hate them because they are beautiful, more sexual, more intelligent, wealthier and smarter than "we" are.
Quite understandable since the title character, played by Ryan Gosling (one of the more capable actors of my generation), not content with just reading a script, apprenticed for the role by living with a Jewish family for a short stint. His instruction reportedly included elements of the Torah, but his performance made it plain that he assimilated something of the Jewish psyche and its dependence on anti-Semitic environment.
The paraphrasing of why ââ¬Åwe hate Jewsââ¬Â can only have come from an interview Gosling had with a snoop reporter, masquerading as an interested participant at a ââ¬Ëracistââ¬â¢ meeting, who revealed his identity when the two met at a café and the journalist sought the reasoning of an articulate believer. This was the true climax (such as it was) of the film. To elaborate on one of the quoted revelations, Goslingââ¬â¢s rant included an indictment of Jewish fixation with oral sex but he was promptly disarmed when informed of prevailing appetites of all races in such matters. Undaunted, our boy moved on to other examples of unscrupulous behaviour and one could sense that he was nearing a universe awaiting true exploration, but, predictably, the episode stopped short of real climax.
More charming was the scene where the believer solicits funds from a Yankee businessman. He is politely turned down, but the company man is sufficiently impressed by the self-educated, motivated, and well-spoken young man that he offers him employment. ââ¬ÅWhen youââ¬â¢re done with this [hobby], come work for me and weââ¬â¢ll make some real money,ââ¬Â goes his pitch. It turns out that corporate America is eager to embrace passionate racists so long as they indulge their proclivities on strictly part-time basis.
As I suspected, excessive restraint and poor elucidation has always been the most serious shortcoming of the ââ¬Åitz comingââ¬Â crowd. :th:
2003-04-25 13:01 | User Profile
**Jews are not hated because they have power, they are hated when they use power to exploit and to kill non-Jews, and they are hated as Jews because their inherent Jewishness drives them to do that regardless of what they really desire. **
That's a key insight that took me years to comprehend.
The films of Stanley Kubrick contain clear warnings to his fellow tribesmen to "lay off the culture destruction already!"
Clockwork Orange was the most obvious warning, with Little Alex forced to watch the denigration of Beethoven as the very Jewish Professor Brodsky directed his "therapy."
The message of his Barry Lyndon was the narrator intoning something like "the drives that make a man great are the same drives that bring him low." Like the Irish outsider in 17th century English society, the Jews had risen to power in the WASP United States in the 20th century but didn't know when to stop. They fought to come "up and in" but when they finally made it and had become conummate insiders they kept acting like outsiders and thereby began destroying the very thing they fought so hard to conquer. They instituted Trotsky's "permanent revolution" - cutting off their own noses to spite their faces.
Kubrick seemed to be saying that they were on their way down and they didn't even know it.
This has all happened before - Egypt, Babylon, Rome, Spain, Poland, Russia, Germany. And now us. The wheel brought them to the top, and its headed the other way. They're on their way down, and they don't see it. They think they're on the top, but they don't know when to quit.
Actually, that's not quite it. As Bill White says above, at some level they know they should stop, but they can't.
It's their genetic defect.
It's like a Greek Tragedy, really. Same plot, different scenes.
Walter
2003-06-16 19:25 | User Profile
*Originally posted by Sisyfos@Apr 24 2003, 15:55 * **
The paraphrasing of why ââ¬Åwe hate Jewsââ¬Â can only have come from an interview Gosling had with a snoop reporter, masquerading as an interested participant at a ââ¬Ëracistââ¬â¢ meeting, who revealed his identity when the two met at a café and the journalist sought the reasoning of an articulate believer. This was the true climax (such as it was) of the film. To elaborate on one of the quoted revelations, Goslingââ¬â¢s rant included an indictment of Jewish fixation with oral sex but he was promptly disarmed when informed of prevailing appetites of all races in such matters. Undaunted, our boy moved on to other examples of unscrupulous behaviour and one could sense that he was nearing a universe awaiting true exploration, but, predictably, the episode stopped short of real climax.
**
Sisyfos, I recently rented and viewed "The Believer" and, although Bill White's original review has more clarity to me that I've seen the movie now, I agree with you on the "climax" of the movie. The scene in the cafe was awesome.
In a nutshell this movie calls into question that if you take away hate for jews and anti-semitism, would the jews continue to exist as the collective monolith that they are? If non-jews would embrace and love the jews, would the jewish race have the fuel, the desire, to continue as the destroyers that they are.
My answer is, both have been tried and both, obviously have failed terribly.
However, I do recommend this film. (just suspend your belief on the actions of the "hollywood nazis" and there's some good stuff in this movie :hit: .)