WAR OF PERCEPTION

The Face Of Jewish Vengence: 'Inglourious Basterds'

By Trevor Lynch / Occidental Quarterly

Quentin Tarantino’s Inglourious Basterds [sic, sic] has been hyped as World War II action movie-cum-sadistic gorefest. In reality, it is a self-indulgent snorefest. I thought I would need a gin and tonic before I went in, but it turns out what I needed was a cup of coffee. Yes, there is some gore and sadism, but frankly I found myself hoping for more of it. Anything, really, to relieve the sheer boredom.

This is Quentin Tarantino’s worst movie, and that is saying a lot, given how bad Kill Bill, vol. I is. Pulp Fiction was Tarantino’s Citizen Kane, and it has been The Magnificent Ambersons ever since. If you find this review entertaining, let me assure you that it is far more entertaining than the movie itself. Nothing here should be interpreted as encouragement for you to waste your time and money on this preposterous and dull film.

Inglourious Basterds is about a team of American terrorists, consisting of seven Jews led by a gentile, Aldo “the Apache” Raine (played by Brad Pitt), who hails from Tennessee and claims to be part American Indian. The character is clearly based on Tarantino himself, since he too has an Italian name, hails from Tennessee, and claims to be part Cherokee. The mission of the Basterds is to terrify the Nazis by killing them in the most sadistic manner possible and mutilating their corpses. The dead are scalped. The survivors have swastikas carved in their foreheads.

Holocaust narratives are filled with tales of thousands of Jews herded to their doom by relative handfuls of Germans and their collaborators. Although this sheep-like behavior seems rather unlike the hyper-aggressive and unruly Jews of my acquaintance, most people accept it at face value and then wonder: What was wrong with these people? Why didn’t they fight back?

Tarantino has asked the same question: “When you watch all the different Nazi movies, all the TV movies, it’s sad, but isn’t it also frustrating? Did everybody walk into the boxcar? Didn’t somebody do something?”

Inglourious Basterds is his answer. During WW II, the Jews needed the leadership of someone like Aldo the Apache, a mostly white man with a bit of red savage mixed in, just like the people who have churned out six million holocaust flicks need to take direction from Quentin Tarantino. With Tarantino in charge, the war would have had a very different end, and Inglourious Basterds shows us how.

Should Jews be insulted by this premise? Of course they should. But the movie itself is far more insulting still. Indeed, this is probably the most anti-Semitic movie ever released by Hollywood. Tarantino’s Jewish characters are one-dimensional, inhuman monsters.

The Jewish Basterds are all as ugly as Der Sturmer cartoons. They have virtually no lines in the entire movie. All they do is skulk around, waiting for Aldo the Apache’s commands to murder and torture Germans.

The most prominent of the Basterds is played by Eli Roth, just another degenerate Jewish director of repulsive horror films. Roth plays the “Bear Jew,” who beats Germans to death with a baseball bat. He is the funniest thing in the entire movie, with his pouting, prissy mouth, drag queen makeup, and shiny brilliantined coiffure. Roth’s large, hairy body (anyone can take steroids) looks menacing until one hears his high, hysteria-edged voice. There was laughter in the audience every time this castrated gorilla opened his mouth on screen.

Too shallow to realize that he was playing a monstrous buffoon, Roth really got into the role, praising Inglourious Basterds as “kosher porn” (is there any other kind?). He really gets off on fantasies of killing Nazis: “It’s almost a deep sexual satisfaction of wanting to beat Nazis to death, an orgasmic feeling. My character gets to beat Nazis to death. That’s something I could watch all day. My parents are very strong about Holocaust education.” They sound like lovely people, and I am sure they are really proud of what a successful boy Eli turned out to be.

Other Jews were equally smitten: Tarantino’s producer, Lawrence Bender, told Tarantino, “As your producing partner, I thank you, and as a member of the Jewish tribe, I thank you, motherfucker, because this movie is a fucking Jewish wet dream.” Harvey and Bob Weinstein, the film’s executive producers, also reportedly enjoyed the film’s theme of Jewish revenge.

Tarantino also reported received uniformly positive reactions from his Jewish friends: “The Jewish males that I’ve known since I’ve been writing the film and telling them about it, they’ve just been, ‘Man, I can’t fucking wait for this fucking movie!’” he told me. “And they tell their dads, and they’re like, ‘I want to see that movie!’”

If all these Jews have no objection to their tribe being portrayed as one-dimensional vengeful sadists, who am I to complain? Perhaps the shoe fits.

The most prominent Jewish character in the movie is the blonde-haired, blue-eyed Shoshanna (played by Mélanie Laurent), the daughter of a Jewish dairy farmer (that got the first laugh of the movie). Her family is massacred in 1941 by the SS, and somehow she turns up a few years later with an assumed French identity running a movie theater in Paris with her Negro lover. When her theater is chosen to premiere a new German movie in the presence of Hitler, Goebbels, Goring, Borman, and other leading Nazis, she plans to bolt the doors and burn the place down as an act of revenge.

Shoshana is a character of reptilian inhumanity. A young German, Frederick Zoeller (played by Daniel Brühl) is obviously smitten with her. A film enthusiast, he tries to strike up a conversation about movies. The contrast could not be clearer. He is warm, sincere, and polite. He sees her as a fellow human being and a fellow film-enthusiast.

She sees him only as a racial enemy. She takes no interest in him until she discovers that he is both a film star and a war hero, which she thinks she can use to her advantage. (He does not reveal these things to her initially, for he does not merely wish to impress her, but to befriend her.)

Her only flash of human emotion comes at the end of a scene in which she meets the SS man, Standartenführer Hans Landa (Christoph Waltz), who murdered her family, but it just heightens the impression that she is a cold-blooded master of deception and intrigue.

Shoshanna’s inhumanity is heightened by comparison to Uma Thurman’s revenge-driven character “The Bride” in the Kill Bill movies. The difference is not just a matter of who played the role (although Tarantino decided that as well) but of how the actresses were directed.

Hans Landa claims that he is effective at hunting Jews because he knows how they think. The meaning of this is made clear at the end of the film, when he turns out to be a traitor.

The Allies do not come off much better than the Jews. Aldo the Apache is the only American. He is a loud-mouthed, sadistic, duplicitous jackass with a hillbilly accent. Brad Pitt plays him for laughs, and he is genuinely funny.

There are three Britons: the handsome German Michael Fassbender as film-critic Lt. Archie Hicox, Mike Myers as General Ed Fenech, and the wreck of Rod Taylor as Winston Churchill. The first two come off as effete wankers, and Churchill might as well be Jabba the Hutt.

　

All of this is in strong contrast to the portrayal of the Germans, even the German traitors. First of all, they are mostly quite good-looking and sexy. (As P. J. O’Rourke said: “Nobody has ever had a fantasy about being tied to a bed and sexually revished by someone dressed as a liberal.”) Second, they are dignified, charming, and polite with strangers; warm, playful, and fun-loving among friends. Even though the Germans are supposed to be the bad guys, they are the only people in the film with whom most white people can readily identify themselves. This means that white audiences can only feel revulsion at the sadistic Jews who murder them.

Hitler, of course, is portrayed as a monster. He first appears wearing a cape, which is appropriate, since he is played as nothing more than a comic book villain. (Martin Wuttke is surely the ugliest Hitler ever.)

Goebbels, although he is portrayed as somewhat arrogant (like a film director, perhaps), comes off overall as warm, sincere, playful, and even a bit lovable(!). Tarantino has obviously immersed himself in German films of the era, and it is clear that he has some admiration for what Goebbels accomplished. (In a scene set in England, it is stated as plain fact that Jews run Hollywood, and Goebbels is given credit for giving them a run for their money.)

The true star of the film is Christoph Waltz, whose portrayal of Hans Landa is absolutely riveting. He is such a magnificent character that Tarantino had to turn him into a traitor in the end, otherwise he would be the true hero of the film as well.

The other star is Daniel Brühl who plays Frederick Zoeller, the young war hero who becomes smitten with Shoshanna. His character is the most likable and most tragic of the film.

Now let’s examine the climax of the movie. I have no qualms about giving it away, since I don’t want any of you to see it anyway. Shoshanna hosts the premiere. Hitler and all the top Nazis come to the theater. She splices her face into the fourth reel of the film. Once the fourth reel is playing, her Negro lover bars the doors to the theater. Suddenly, Shoshanna’s face appears on the screen: “This is the face of Jewish vengeance!” she screams, while the Negro sets the building on fire. The kindling he uses are movies printed on highly flammable nitrite film. (Jews use movies — and Negroes — to create mass death and destruction in this country too.)

Meanwhile, two of the Jewish Basterds (including the preposterous Eli Roth), who have infiltrated the theater without knowing of Shoshanna’s plot, run amok with machine guns, killing Hitler and Goebbels and other Nazis. The theater then explodes. Everybody dies, Jews and Germans alike. Götterdämmerung.

The climax of Inglourious Basterds is obviously based on the Oscar night massacre in neo-Nazi Harold Covington’s novel The Brigade. If you don’t believe me, read the novel for yourself.

The symbolism and the message could not be clearer: Jews use movies and movie theaters as tools to destroy their enemies. And since the white people in the audience can most readily identify with the Germans, the message gets through: the Jewish movie business is a tool of hatred and vengeance directed against all white people.

Why would Quentin Tarantino make a movie about World War II in which Germans are portrayed as attractive human beings, Americans are portrayed as sadistic buffoons, Englishmen are portrayed as effete wankers, and Jews are portrayed as cold-blooded, inhuman mass murderers?

Why would Quentin Tarantino borrow plot elements from neo-Nazi Harold Covington’s The Brigade to craft a climax for his movie? Why would he use that climax to expose the true anti-white agenda of Hollywood?

Is Quentin Tarantino a Nazi-sympathizer?

Of course not. Nothing could be further from the truth. Quentin Tarantino is simply a nihilist with an unfailing instinct for finding and desecrating anything sacred. In Pulp Fiction — his one great movie, and his most sincere — Tarantino showed a profound grasp of the spiritual meaning of the duel to the death over honor, symbolized by the Samurai sword. In Kill Bill, vol. I, he made a giant joke of it.

In Inglourious Basterds, Tarantino has taken the one truly sacred myth in modern Jew-dominated America — especially in modern Hollywood — namely WW II and the holocaust, and he has desecrated it by inverting all of its core value judgments and reversing its stereotypes. In the process, he has exposed the true anti-white agenda of Hollywood. Why? Just because he can.

The fact that Quentin Tarantino could desecrate the holocaust, expose Hollywood’s agenda, and sell it back to Hollywood’s Jews is a testament to his twisted genius and their shallowness and moral imbecility.

I wish Inglourious Basterds were a better movie, since I think that many white people would benefit from seeing it. Yes, the explicit message is that it is good for Jews and their hillbilly dupes to sadistically murder Germans (and any other enemies of the Jews, for that matter). But the largely white audience with which I saw the film did not seem terribly comfortable with this message.

Yes, they found Brad Pitt funny. He really was funny. But the sadism directed at Germans did not amuse. In the last scene of the film, where Aldo the Apache graphically carves a swastika in the forehead of Hans Landa and pronounces it “my masterpiece” — pathetically enough, this is probably Tarantino’s view of the film — there was no laughter.

For the subliminal message was coming through loud and clear: we are all Germans now, and every time we turn our eyes to a movie screen we are seeing the face of Jewish vengeance.

Hitler and the Secret Societies

National Socialism & The Occult: A Level-Headed Analysis (Mookie will hate this!)

It is remarkable that some authors in France have researched the relationship of German National Socialism to secret societies and initiatic organizations. The motivation for this was the supposed occult background of the Hitler movement. This thesis was first proposed in the well-known and very far-fetched book by Pauwels and Bergier, "Le Matin des Magiciens" (English ed., "The Dawn of Magic"), in which National Socialism was defined as the union of "magical thinking" with technology. The expression used for this was "Tank divisions plus René Guénon": a phrase that might well have caused that eminent representative of traditional thought and esoteric disciplines to turn indignantly in his grave.

The first misunderstanding here is the confusion of the magical element with the mythical, whereas the two have nothing to do with one another. The role of myths in National Socialism is undeniable, for example in the idea of the Reich, the charismatic Führer, Race, Blood, etc. But rather than calling these "myths," one should apply to them Sorel's concept of "motivating energy-ideas" (which is what all the suggestive ideas used by demagogues commonly are), and not attribute to them any magical ingredient. Similarly, no rational person thinks of magic in connection with the myths of Fascism, such as the myth of Rome or that of the Duce, any more than with those of the French Revolution or Communism.

The investigation would proceed differently if one went on the assumption that certain movements, without knowing it, were subject to influences that were not merely human. But this is not the case with the French authors. They are not thinking of influences of that kind, but of a concrete nature, exercised by organizations that really existed, among which were some that to various degrees were "secret." Likewise, some have spoken of "unknown superiors" who are supposed to have called forth the National Socialist movement and to have used Hitler as a medium, though it is unclear what goals they could have had in mind in so doing.

If one considers the results, the catastrophic consequences to which National Socialism led, even indirectly, those goals must have been obscure and destructive. One would have to identify the "occult side" of this movement with what Guénon called the "Counter-Initiation." But the French authors have also proposed the thesis that Hitler the "medium" emancipated himself at a certain point from the "unknown superiors," almost like a Golem, and that the movement then pursued its fatal direction. But in that case one must admit that these "unknown superiors" can have had no prescience and very limited power, to have been incapable of putting a stop to their supposed medium, Hitler.
A lot of fantasy has been woven on the concrete level about the origin of National Socialism's themes and symbols. Reference has been made to certain organizations as forerunners, but ones to which it is very difficult to attribute any genuine and factual initiatic character.

There is no doubt that Hitler did not invent German racial doctrine, the symbol of the swastika, or Aryan antisemitism: all of these had long existed in Germany. A book entitled "Der Mann, der Hitler die Ideen gab" [The man who gave Hitler his ideas] reports on Jörg Lanz von Liebenfels (the title of nobility was self-bestowed), who had formerly been a Cistercian monk and had founded an Order that already used the swastika; Lanz edited the periodical "Ostara" from 1905 onwards, which Hitler certainly knew, in which the Aryan and antisemitic racial theories were already clearly worked out.
But much more important for the "occult background" of National Socialism is the role of the Thule Society.

Things are more complex here. This society grew out of the Germanenorden, founded in 1912, and was led by Rudolf von Sebottendorf, who had been in the East and had published a strange booklet on "Die Praxis der alten türkischen Freimaurerei" [The practice of ancient Turkish Freemasonry]. Practices were described therein that involved the repetition of syllables, gestures, and steps, whose goal was the initiatic transformation of man, such as alchemy had also aimed at. It is unclear what Turkish masonic organization Sebottendorf was in contact with, and also whether he himself practiced the things in question, or merely described them.

Moreover, it cannot be established whether these practices were employed in the Thule Society that Sebottendorf headed. It would be very important to know that, because many top-ranking National Socialist personalities, from Hitler to Rudolf Hess, frequented this society. In a way, Hitler was already introduced to the world of ideas of the Thule Society by Hess during their imprisonment together after the failed Munich Putsch.

At all events, it must be emphasized that the Thule Society was less an initiatic organization than it was a secret society, which already bore the swastika and was marked by a decided antisemitism and by Germanic racial thinking. One should be cautious about the thesis that the name Thule is a serious and conscious reference to a Nordic, Polar connection, in the effort to make a connection with the Hyperborean origins of the Indo-Germans--since Thule appears in ancient tradition as the sacred center or sacred island in the uttermost North.

Thule may just be a play on the name "Thale," a location in the Harz where the Germanenorden held a conference in 1914, at which it was decided to create a secret "völkisch" band to combat the supposed Jewish International. Above all, these ideas were emphasized by Sebottendorf in his book "Bevor Hitler kam" [Before Hitler came], published in Munich in 1933, in which he indicated the myths and the "völkisch" world-view that existed before Hitler.

Thus a serious investigation into Hitler's initiatic connections with secret societies does not lead far. A few explanations are necessary in regard to Hitler as a "medium" and his attractive power. It seems to us pure fantasy that he owed this power to initiatic practices. Otherwise one would have to assume the same about the psychic power of other leaders, like Mussolini and Napoleon, which is absurd. It is much better to go on the assumption that there is a psychic vortex that arises from mass movements, and that this concentrates on the man in the center and lends him a certain radiation that is felt especially by suggestible people.

The quality of medium (which, to put it bluntly, is the antithesis of an initiatic qualification) can be attributed to Hitler with a few reservations, because in a certain respect he did appear as one possessed (which differentiates him from Mussolini, for example). When he whipped up the masses to fanaticism, one had the impression that another force was directing him as a medium, even though he was a man of a very extraordinary kind, and extremely gifted. Anyone who has heard Hitler's addresses to the enraptured masses can have no other impression. Since we have already expressed our reservations about the assumption that "unknown superiors" were involved, it is not easy to define the nature of this supra-personal force.

In respect to National Socialist theosophy [Gotteserkenntnis], i.e. to its supposed mystical and metaphysical dimension, one must realize the unique juxtaposition in this movement and in the Third Reich of mythical, Enlightenment, and even scientific aspects. In Hitler, one can find many symptoms of a typically "modern" world-view that was fundamentally profane, naturalistic, and materialistic; while on the other hand he believed in Providence, whose tool he believed himself to be, especially in regard to the destiny of the German nation. (For example, he saw a sign of Providence in his survival of the assassination attempt in his East-Prussian headquarters.) Alfred Rosenberg, the ideologist of the movement, proclaimed the myth of Blood, in which he spoke of the "mystery" of Nordic blood and attributed to it a sacramental value; yet he simultaneously attacked all the rites and sacraments of Catholicism as delusions, just like a man of the Enlightenment. He railed against the "Dark men of our time," while attributing to Aryan man the merit of having created modern science.

National Socialism's concern with runes, the ancient Nordic-Germanic letter-signs, must be regarded as purely symbolic, rather like the Fascist use of certain Roman symbols, and without any esoteric significance. The program of National Socialism to create a higher man has something of "biological mysticism" about it, but this again was a scientific project. At best, it might have been a question of the "superman" in Nietzsche's sense, but never of a higher man in the initiatic sense.

The plan to "create a new racial, religious, and military Order of initiates, assembled around a divinized Führer," cannot be regarded as the official policy of National Socialism, as René Alleau writes, when he presents such a relationship and even compares it, among others, to the Ishmaelites of Islam. A few elements of a higher level were visible only in the ranks of the SS.

In the first place, one can see clearly the intention of Reichsführer-SS Heinrich Himmler to create an Order in which elements of Prussian ethics were to be combined with those of the old Orders of knighthood, especially the Teutonic Order. He was looking for legitimation of such an organization, but could not obtain it, since these old Orders of Catholicism were openly opposed by the radical wing of National Socialism. Himmler was also seeking, without the possibility of any traditional connection, a relationship to the Nordic-Hyperborean heritage and its symbolism (Thule), albeit without those "secret societies" discussed above having any influence over it. He took notice, as did Rosenberg, of the researches of the Netherlander Herman Wirth into the Nordic-Atlantic tradition. Later Himmler founded, with Wirth, the research and teaching organization called the "Ahnenerbe." This is not without interest, but there was no "occult background" to it.

So the net result is negative. The French authors' fantasy reaches its high point in the book "Hitler et la tradition cathare" by Jean-Michel Angebert (Paris, 1971). This deals with the Cathars, also called Albigensians, who were a heretical sect that spread especially in Southern France between the 11th and 12th centuries, and had their center in the fortress of Montségur. According to Otto Rahn, this was destroyed in a "crusade against the Grail," which is the title of one of his books. Whatever the Grail and its Grail-Knights had to do with this sect remains completely in the dark. The sect was marked by a kind of fanatical Manicheism: sometimes its own believers would die of hunger or some other cause as a demonstration of their detachment from the world and their hostility to earthly existence in flesh and matter. Now it is assumed that Rahn, with whom we corresponded during his lifetime and tried to persuade of the baselessness of his thesis, was an SS man, and that an expedition was sent on its way to retrieve the legendary Grail which was supposedly brought to safety at the moment when the Cathars' fortress in Montségur was destroyed. After the fall of Berlin, a unit is said to have reached the Zillertal and hidden this object at the foot of a glacier, to await a new age.

The truth is that there was talk of a commando unit, which however had a less mystical commission, namely the rescue and concealment of the Reich's treasures. Two further examples show what such fantasies can lead to when they are given free rein. The SS (which included not only battle units but also researchers and scholarly experts) mounted an expedition to Tibet in order to make discoveries in the fields of alpinism and ethnology, and another one to the Arctic, ostensibly for scientific research but also with a view to the possible situation of a German military base. According to these fantastic interpretations, the first expedition was seeking a link to a secret center of the Tradition, while the other was seeking contact with the lost Hyperborean Thule...

By Julius Evola (from Il Conciliatore, no. 10, 1971; translated from the German edition in Deutsche Stimme, no. 8, 1998)