The Irony of “Conspiracy”

The word “conspiracy” is most often heard today as being on the fringes of the information sphere. This is largely due to the nature of what a conspiracy is, something deliberately not made public, however it is also a way to prove arguments wrong: “it’s just a conspiracy theory.”

Very odd then, that a film about the Sacred Cow of mainstream information, one that fully supports all of its absurdities, myths, fabrications and the like, all the while attempting to sell them off as perfectly feasible and even logical, is called Conspiracy. I am referring to the 2001 HBO production about what is commonly known as “the Wannsee Conference” where the “Final Solution” was said to have been concocted.

The very first frame of the film is the first oddity, it is the title card of the film. The letter “o” is also the wreath held by the Imperial Eagle on the NSDAP Emblem. My best guess is that the title “Nazi Conspiracy” would have sounded a bit lame, too much like pulp fiction, so they snuck in that notion with a small bit of graphics work. However, the thing that seals the deal with this film is the opening  narration, which soon starts, and which states that “only one record of what was said and done here survives.”

Thus, within less than a minute the film admits to being highly speculative at best.

The next thing that happens is the third and final oddity, which is the entire rest of the film: the whole catalog of “evil Nazi” stereotypes. It is really quite amusing in a weird way. HBO is a major company and network, they hired some fine Shakespearean actors for this film and the production design is very good quality for a historical film; however all that is all just distraction from the sheer absurdity of what they talk about. You are supposed to be taken in by the dramatic performances so that you don’t, by chance, happen to think that you could go and verify by yourself the information presented. The sights and wonders of good actors at work is supposed to be all that is required to convince viewers, and sadly, for the most part, it does.

NS Stereotypes
They were pretty unoriginal with them here. Adolf Eichmann, the man said to be responsible for scheduling all the trains to “death camps” as they are known by ZC, is shown to be a cold-faced, stingy bastard who is annoyed by the slightest mistake in order. We can see this right away as a kitchen worker drops some plates causing them to shatter. Immediately Eichmann barks in anger and orders that the cost of damage be taken from the worker’s next paycheck.

The saying, “Heil Hitler,” is used ad nauseam as the arriving NSDAP officials greet each other. They shout it repeatedly despite being indoors and each time they whip out the accompanying salute. Literally, the lobby of the mansion feels like a parade ground during this scene.

The most ludicrous, and also the most generic, stereotype is the portrayal of Gerhard Klopfer, who was a slender man, but in this production he is portrayed by the quite obese Ian McNeice. The actor plays his role as a perverse, gluttonous slob and the film’s speculative nature begins to partly fade and be replaced with the sense of “deliberately misleading.” In fact, the here fictional Klopfer very much resembles the real Ariel Sharon who is a bigoted war criminal, albeit with an efficient public relations department that covers up his and his fellow Zionists’ crimes against the Palestinians and other groups. The film’s portrayal of Reinhard Heydrich also bears a key element of ZC Propaganda – in the film Heydrich is shown as being blonde and blue eyed, the so called “Aryan ideal” of the Third Reich. The real Heydrich was blue eyed, but he wasn’t blonde as many readily available colorized photos of him show. Even from the black and white photos we can see that his hair appears as too dark to have been blonde.

Racism and Bigotry
In compliance with ZC, the film portrays the officials meeting as quite racist. This comes in the form of intermittent spouts of bigotry. Many of these are anti-Polish. I found this odd, since the National Socialists of Germany were said to have hated everybody (but especially the Jews) so why do they seem to insult the Poles more than other groups? The answer is a simple Jewish manipulation. Poland had a large Jewish population and many Poles were put into the internment camps along with Jews where they suffered from the same typhus epidemic, many of them dying. Thus, when the Zionists pitched the “6,000,000 figure” the Poles were among their easiest to lure goys. The Jew had nestled his way into winning sympathy for fictional atrocities. The film’s dialog just continues that myth: “You Poles should hate the Germans just as much as we do since they were trying to kill you too.” To keep this myth in line, stories of dedicated soldiers like Herbert Kaminski and Gerhard Michalski are totally ignored in the mainstream sphere. Both men were ace pilots in the Luftwaffe and identified as Germans, but their names clearly show them to be of mixed extraction, thus exposing “German racial mania” as fiction. In a great irony, practically all of this German anti-Slavic bias is actually a Jewish creation; a false flag to gain support for policies and campaigns.

Relations between NS Germany and Poland were quite good for a time. The question to ask: what caused them to break down? It is also worth noting that the Wehrmacht was incredibly diverse on an ethnic scale. Many times more so than the Allied and Soviet armed forces.

In the film, the Germans at the table discuss all sorts of ways to isolate Jews and prevent them from mixing with ethnic Germans. They rant about statistics and fractions and “preserving race” and “not polluting blood” and basically everything that the Jews condone and actually do themselves today! They invented the Nazi myth to downplay the Israeli reality.

Excerpt from this IHR interview with General Otto Ernst Remer:

IHR: Is it true that the Germans referred to the Russians as “subhumans?”

Remer: Nonsense! The Russians are human beings just like everyone else.

Your question, whether we called the Russians “subhumans,” is nonsense. We had a first-class relationship with the Russian people. The only exception, which was a problem we dealt with, was with the Soviet Commissars, who were all Jews. These people stood behind the lines with machine guns, pushing the Russian soldiers into battle. And anyway, we made quick work of them. That was according to order. This was during a war for basic existence, an ideological war, when such a policy is simply taken for granted.

There was sometimes talk about the so-called Asian hordes, and ordinary soldiers sometimes spoke about subhumans, but such language was never officially used.

General Remer was a top ranking NS official who knew Adolf Hitler very well.

Now, some words from influential Jews:

“One million Arabs are not worth a Jewish fingernail.”
~Rabbi Yaacov Perrin, Feb. 27, 1994 (NY Times, 2/28/1994, pg 1)

“The nation of Israel is pure and the Arabs are a nation of donkeys. They are an evil disaster, an evil devil, and a nasty affliction. The Arabs are donkeys and beasts. They want to take our girls. They are endowed with true filthiness. There is pure and there is impure and they are impure.” ~Rabbi David Batzri, head of the Magen David Yeshiva in Jerusalem (Israeli newspaper Haaretz, 3/21/2006)

So there you have it. Thoughts on racism from a top NS official and from top Jewish Rabbis. Predictably, the racism comes from the Jews.

The Big Deal
As with any “Holocaust” movie, the big thing here is the “gas chambers.” These are also the film’s biggest gamble, since if one manages to disprove this issue, then the whole film goes from highly speculative to definitely false.

Soon after the fictional film Nazis finish with their obligatory racist ranting, the “logical” conclusion of the evil Nazi mind is reached: extermination. This is ZC’s key tool of attack in this film. First, they provide a slightly more sophisticated surface picture of the NS personnel, however the core of film’s message it is just the same thing as Wolfenstein 3D. It is a clever move so as to make the demonization of the Nazi ideas and not the Nazis themselves. The more plausible than usual surface of this presentation makes for a greater chance that the audience will swallow the underlying falsehoods. Even if these are taken in subliminally, the job of the film to deceive is done.

Additionally, the film also says that “it is not the Germans that are bad, just Nazis who could potentially be of any ethnicity.” It is a subtle distinction, more of a grey area really, but in demonizing ideas and not people, ZC effectively broadens its range of attack, yet hones its accuracy as well. For the most part, the guilt tripping of Germans is only a part of their propaganda, the biggest part is guilt tripping anyone who dares to think positively about National Socialism.

The irony is that in doing so, we can see that ZC fears that more and more people are realizing that National Socialism is not just a German thing. This means that they have effectively acknowledged the universal applicability of NS! Now, people just have to see through the morbid Jewish fiction, which comes next.

In the film, Eichmann states that with the building of a new camp at a location called Auschwitz, they will be able to kill 2,500 Jews per hour and 60,000 Jews per day. Many of the members at the meeting react in shock, except for the blonde, blue eyed fictional Heydrich who smiles coldly. The figures amount to just over 21,000,000 dead per year, according to the film. The shock is, of course, a positive and happy surprise as the fictional Nazis then proudly say that it will be like an assembly line to which Heydrich responds that “the clever Americans have taught us that one!” This particular line is nothing other than a stab at Henry Ford who wrote The International Jew and distributed The Protocols of the Elders of Zion after he saw how much of the text was reflecting what was really happening in the World at the time.

The film’s discussion about gas chambers amounts to just sneering and throwing big numbers around, which is effectively just sensationalist entertainment and shock value. One should find it odd that the men in the film don’t discuss where they’ll get the equipment and how they’ll construct it. They go into much detail about many other things, like the aforementioned racial issues, yet this key aspect of the film is totally ignored. It is as if they say: “I got it! Gas Chambers!” The End. The reason for this is quite simple once one has found where to look.

These photos are a start:
Note the caption: it’s in German

A German company’s advertisement for industrial gas chambers:

Yes, that is an actual advertisement for a German company’s product, which makes it something that Adolf Hitler would have had unlimited access to if he wanted. This is particularly true after Germany went into “Total War” with all of the country’s production geared for war efforts, which supposedly included a “war on the Jews.” Yet, never in any “Holocaust” movie do we see any of these REAL GAS CHAMBERS. Nor are they in any of the camps. I have been to Auschwitz and Majdanek and nothing of the sort pictured above can be seen there. “Holocaust Denial” is NOT the refusal to admit a painful truth, it’s the refusal to accept a lie.

Historian Friedrich Berg has compiled an excellent online library of information about this and other subjects from the Second World War. The above images are from his site. Also, here are the official German records on death statistics at the Auschwitz POW/labor camp. A major magazine in France published this article that acknowledges that the “gas chambers” were built after the war under Soviet supervision. Everyone knows that the Soviets officially blamed and upheld the myth that the Germans were responsible for the Katyń Massacre, a major crime of the Second World War, yet almost everything else that the USSR said about the Third Reich is held up to minimal skepticism, since it nicely meshes with the Zionist historiography.

With all this in mind we can see the greatest irony at play here: it is the film itself that is the “conspiracy.”

Let’s take a look at the meaning of that word, it is defined as such:

n. pl. con·spir·a·cies

  1. An agreement to perform together an illegal, wrongful, or subversive act.
  2. A group of conspirators.
  3. Law An agreement between two or more persons to commit a crime or accomplish a legal purpose through illegal action.
  4. A joining or acting together, as if by sinister design: a conspiracy of wind and tide that devastated coastal areas.

This film production perfectly fits with #1 – it is wrongful and subversive. The filmmakers and the Allied and Soviet propagandists (with many Jewish racists on both sides) are #2. The Allied and Soviets are all guilty of #3 – accomplish a legal purpose (prosecution) through illegal action (with fabrication and falsehood). This process continues today with films like this that justify the previous lies. Lastly, these actions, and Jewish actions today, are most certainly a “sinister design” – they know that they are wrong and that is why they fear revisionist investigation. That is why the “Holocaust” is protected by law, because it cannot stand by itself, it needs a witch hunt to frighten people into believing it.

“As long as people believe in absurdities then they will continue to commit atrocities.” ~Voltaire

Certainly we can see as that being the case with Israel, the self-proclaimed Jewish state, in today’s world. Dropping illegal chemical weapons, in the form of white phosphorus, on innocents. Detaining people without trial. Lobbying their biggest guard dog, the USA, to shelter them from all international criticism and prosecution.

“When the Zionists try to make the rest of the world believe that the new national consciousness of the Jews will be satisfied by the establishment of a Jewish State in Palestine, the Jews thereby adopt another means to dupe the simple-minded Gentile.They have not the slightest intention of building up a Jewish State in Palestine so as to live in it. What they really are aiming at is to establish a central organization for their international swindling and cheating.
As a sovereign State, this cannot be controlled by any of the other States. Therefore it can serve as a refuge for swindlers who have been found out and at the same time a high-school for the training of other swindlers.” ~Adolf Hitler, Mein Kampf

The film’s epilogue is rather interesting in that it states that many of the men were released for “lack of evidence.” This, once again, shows that the film is speculation for if solid evidence did in fact exist about the matters said to have been discussed here, then all involved would have been arrested and jailed if not executed. However, even after the supposed “one record” was found in 1947 (by that point Germany had been under occupation for 2 years by the Allies and Soviets) nothing changed in the men’s fates. For one, Klopfer lived and worked freely until 1987!

There is an interesting anecdote at the end that Kritzinger tells to Heydrich: it’s the story of a young man who detests his father so much, that when eventually the man dies, the son breaks down in tears, because his life is now empty of all purpose after having directed all of his energies into despising his father. This is Kritzinger’s warning about the hatred that Heydrich and the Nazis feel toward the Jews. The brief story amounts to nothing more than yet another short chapter in Jewish arrogance. The Jews cannot help, but place themselves in the center of everything. The study of World War 2 will soon simply be reduced to the sentence, “The time when 6,000,000 Jews were gassed.” National Socialism will become, “The belief that all Jews should be killed via gassing.” Etc, etc…

It is rather pathetic, but a rather perfect example of the self-centered nature of the Jewish mind, the morbidity of its beliefs, the aridity of its ideals and the parasitic persuasion that affects non-Jews and gets them to spread the Jews’ lies. And it all goes back to the Jewish herder archetype.

Related Information:
The Wannsee Conference Protocol: Anatomy of a Fabrication

About Miecz Elizejski

Kindling a Kampf deep in Zionist-occupied territory.
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