One of the core distinctions between Aryan and Jewish thinking is how results are achieved and how victories are won. The Aryan idea is that material existence is inherently evil and is to be ultimately transcended with the journey being a struggle of creativity working against destructive forces. The Jewish idea is that material existence is to be manipulated to serve the Jews and this includes bribing Gentiles with perks and goy biscuits. The Gentile mindset is, in every practical sense, identical to the Jew’s, just focused on their tribe.
The Handed Victory, the Jewish Way
A hero can be called such for achieving a goal or victory via his or her own effort, struggle or Kampf. Therefore, it is no surprise that this key element is missing from many of the popular action/adventure films produced in Hollywood, a think tank of Jewish and judaized thinking. One of the main proponents of Jewish ideas in Hollywood is the Jew Steven Spielberg whose films are almost always crafted with Jewish elements in key scenes that tune the film to be completely judaized and thus ripe for consumption by the mainstream audience.
One of Spielberg’s most well known films is Raiders of the Lost Ark, which has been hailed as one of the best action/adventure films ever made and its protagonist, Indiana Jones, as one of the best screen heroes of all time. He kills “evil Nazis” so the Jews and judaized moviegoers simply love him.
The climatic scene to this film reveals all of its absurdities. Hitler and the German National Socialists, no doubt, had much interest in the spiritual and Hitler openly announced that National Socialism was, in part, a spiritual undertaking, however, there is no way that the NSDAP government would have bothered in chasing Jewish relics such as the titular Ark other than to destroy them. However, Jewish writer Lawrence Kasdan penned the screenplay and Jewish actor Harrison Ford plays the main character so Jewish self-centeredness is on overdrive here. The film reaches its main event when the German archeological expedition finally opens the Jewish gold box to reveal… sand. Then, a portal seems to open up from within the Ark and a pillar of fire kills everyone except for Indiana Jones and Marion Ravenwood. This is a true Ziogasm of an ending in top Hollywood form. Nothing could be more obviously Jewish. For one, Indiana Jones simply somehow “knows” to close his eyes and thus be spared him from the ensuing pillar of fire and lightning blasts. Also, the pillar of fire is an image that Jews conceive of Yhwh. Thus, the ending to this film is Yhwh sparing one of its pawns as it wipes a group of those standing against it.
There are many ironic acknowledgements in this scene, too. For one, the pillar of fire appears to emerge from Hell, yet the soldiers seem to get cremated and then taken to the sky. Since, Judaism is purely materialist and has no concept of afterlife, it almost seems as if some Aryan Divinity intervenes in this scene and takes the soldiers up to a heavenly realm. Cremation of the dead is an Aryan custom and afterlife (transcendence of materialist existence) is a key aspect in Aryan religions. No doubt that this mixing and matching of symbolism is meant to conjure confusion as a Jew will never communicate with clarity.
After the fire clears, Indiana Jones is magically freed, having been tied to the post earlier, and then the film abruptly cuts to Washington DC where the film is quickly finished off but the story is left intentionally unresolved. As we can see, in the film’s final scenes, Indiana Jones does literally nothing, yet he’s supposed to be a hero.
Now go back earlier in the film. Go all the way back to the beginning. What you’ll find is that Indiana Jones is completely unnecessary to the film’s events! Take him out and the film will reach the same conclusion. SS Agent Toht would still have gone to Nepal, this time getting the medallion from Marion Ravenwood. With the medallion, Colonel Dietrich and Rene Belloq would have found the map room. It was Belloq’s own decision to open the Ark on the secret island and thus he would have still insisted on this and Dietrich would have agreed all the same. Lastly, Yhwh would still have incinerated all the soldiers. Indiana Jones is a useless protagonist, but a good goy. Many of Jones’s confrontations throughout the film are also based on sheer luck or the intervention of Yhwh. In the fight by the airplane, which Indiana Jones all but totally loses, comes to an abrupt end when his opponent gets diced by one of the aircraft’s propellers, a handed victory. Indiana Jones ends up escaping with the truck by driving into a town that he’s never been in before and the people hide him from his pursuers, another handed victory.
This is not limited to just the first Indiana Jones film. In Temple of Doom, a key confrontation at the end in which Indiana Jones captures one of the sacred stones is also sheer luck, the villain drops them and conveniently falls to his death, as Indiana Jones catches one, while retaining the ability to hold on and not plummet to his death. Another handed victory. In The Last Crusade, the fight on top of the tank ends with Colonel Vogel going over the cliff with the tank, but Indiana Jones somehow manages not to fall despite being on that same tank. It’s a good cliffhanger technique and many films use this device, though in this film it is never explained even after the fact. It just happened for convenience, meaning, it’s a handed victory.
Spielberg packs virtually all of his movies with this Jewish bunkum. In the finale of Jaws, Police Chief Brody shoots wildly at the oncoming shark until he finally hits the compressed air tank in its mouth for no real reason, a handed victory. In Jurassic Park, much is made about the size and earthshaking presence of the Tyrannosaurus Rex, a huge dinosaur. However, in a key scene at the film’s end when the main characters seem to be seconds away from becoming Velociraptor dinner, the T-Rex appears out of nowhere and kills both Raptors yet somehow spares the humans. Additionally, this all takes place inside of a building, meaning that the Tyrannosaur, whose steps cause tremors that can be felt before the thing is even seen, can simply sneak into a building made for humans and save the day for the good guys. Yet another handed victory.
Then there is the climatic sequence of Saving Private Ryan. This scene plays out like and extended version of Raiders of the Lost Ark’s grand finale just with more subtle and sophisticated manipulation. The key selling point of this sequence, and in fact the whole film, is when a Waffen SS soldier kills US Army Private Mellish, a Jew. This comes as a result of a long and savage fight as each soldier tries to over take the other. At one point, Mellish draws the Hitler Youth knife that he had picked up earlier in the film. It is at this point that most Jews were probably itching to get their revenge lust satisfied, as a Jew seemed to be seconds away from killing an SS soldier with a weapon exclusive to the Third Reich. However, that does not happen. Mellish is overpowered and the knife is sunk into his chest. With this scene, the film attempts to convince the audience that this is not Jewish revenge porn, but rather a brutal and honest picture of the ruthlessness and unpredictability of war.
While the film does in fact seem to steer clear of the revenge motif, it does not do so entirely and it is still contrived in a way that only a Jewish or judaized mind could approve of. The main reason being that this final battle is essentially won by the Germans. The Wehrmacht takes control of the battlefield by using approaches from several different sides and either overtakes or destroys any and every defensive emplacement that the US Army managed to have set up. With their sniper and spotter gone, their machine gunners dead, and remaining ammunition low, the Americans cross the bridge that they are defending and put in one last attempt to stop the Germans’ advance by blowing it up. And guess what? This also fails. The German Tiger tank that is approaching the Americans’ position fires a shell at the American position and this causes Captain Miller to lose the detonator for the explosives rigged under the bridge. Miller is then himself wounded by a rifle shot and finds himself in the path of the tank rolling inexorably forward over a now undefended bridge, but then… the tank is destroyed! American planes appear out of nowhere, along with an entire American Army unit, and the Wehrmacht promptly retreats. It’s another handed victory.
There are also some interesting smaller details throughout this sequence. One, the German soldier who shoots Captain Miller is the same soldier that is spared execution after Miller’s unit captured a German machine gun position from earlier in the film. This soldier, dubbed “Steamboat Willy” by the Americans, is then executed by Upham, one of two survivors of the original group of protagonists. Upham had previously demonstrated overwhelming cowardice, but now is shown to be “brave” by executing an unarmed soldier who had just surrendered, but hey it’s ok, since he killed an “evil Nazi.” Steamboat Willy is shown wearing Wehrmacht Heer insignia, however, in this climatic sequence is key shot that clearly compares him, and by extension all German soldiers, to be ruthless killers deserving of death. Previously in the battle, just after the Tiger tank fired causing Captain Miller to lose the detonator, it started to proceed across the bridge and then the film cuts to a clever over the shoulder shot of Steamboat Willy as he first shoots a running US soldier in the back and then shoots and wounds Miller who falls hopelessly in front of the oncoming tank. The camera angle used for this is the same as one used in Spielberg’s previous Zionist propaganda piece Schindler’s List, of when SS Captain Amon Goeth shoots the internees at Plaszów Labor Camp from the balcony of his quarters. Thus, Spielberg compares these two soldiers and says, “they’re all the same.” The first absurdity being that it has been proven that Amon Goeth could not have fired from his quarters’ balcony as depicted due to the layout and geography of the camp. The second is that by the time that Steamboat Willy shoots the retreating American in the back, all of the Americans had previously been shown being killed in battle or retreating across the bridge, thus it is also a logical impossibility placed within the film’s events. Lies upon lies within lies and playing off of other lies, this is how Jews communicate.
Just like in Raiders of the Lost Ark, the ending sequence to Saving Private Ryan would have been negligibly different if the main characters were taken out from it. The Wehrmacht would have still entered the town as they do in the film and the American army would have still showed up and the result would have been a slightly different played put battle, but with aerial superiority the US Army would have still more than likely forced the Germans into retreat as happens in the film. In Jewish films, heroes don’t exist, main characters mean next to nothing, and Yhwh dictates their fate.
The ideas of Struggle and Kampf represent real and meaningful effort and work. They permeate the Aryan Worldview and from this National Socialism bloomed – a society based on work for higher ideals.
A Jewish worldview skips the work aspect and tries to get directly to the results. It was from this that concepts such as usury, making money from money; and the golem, getting a mindless robot to do the required work, were created. When the Jewish worldview is applied to a story arc where Struggle and Kampf would normally exists, we get the absurdities previously mentioned. Judeo-Christianity is also another product of this as it says that its adherents “can be saved by their faith alone.” With this, the idea of emulating the life of Christ and actually living according to His values is done away with. Adherents to the faith simply believe and that’s it, very few are actually connected with the message that Christ originally passed on to people. The same thing can be said for neo-Nazis who make no attempt to delve into the work, life and words of Hitler, rather they just believe him to be a messiah for the imperiled “White Race.” Ironically, this bogus messianic viewpoint makes neo-Nazis a lot like Jews and totally unlike Aryanists or the original National Socialists from Germany. Neo-Nazis are nothing more than golems with swastikas stickers slapped on.
Gnostic Struggle, The Aryan Way
A hero can be called such for achieving a goal or victory via his or her own effort, struggle or Kampf. This is one of the central pillars of Aryan storytelling and myth, and the main pillar in an Aryan society – results through work, which is embodied in the mythical Golden Age of Neolithic Farmers. This idea has seen limited honest transposition into the field of storytelling and a number of those works have been examined on this blog. Not surprisingly, many of the Aryan themed films examined have been box office flops since they contain ideas that the mainstream audience has been programmed against.
One of the best, and also more successful in the mainstream, of these films is The Return of the King, the conclusion to the epic trilogy, The Lord of the Rings. The trilogy has been previously examined in full on this blog, so only a key sequence will be reviewed here. The most telling of these vital points is the conclusion, which runs in stark contrast to the mainstream in that the main characters receive not one shred of luck in their struggle. Tolkien structured the story to make each incident of luck balanced out with misfortune or even to make the previous lucky moment become negligible. In struggle, we can only rely on ourselves.
This idea is very apparent in the finale to The Return of the King. In his fight with Gollum, Frodo appears to have a rare bit of good luck when he happens to be able to roll Gollum off of a cliff. This moment comes unexpected, though it only proves temporarily fortunate as Shelob soon sneaks up on Frodo and subdues him. Sam’s ensuing fight with Shelob plays out unlike the confrontations in judaized films. For one, Sam’s victory is clearly due to clever tactics and it is also remarkably not sensationalized. The hideous Shelob is not even killed, rather just wounded and frightened off into retreat. In Indiana Jones’s fight by the plane in Raiders of the Lost Ark, Jones’s “evil Nazi” opponent essentially won the fight and then was letting Jones stand up to continue the duel (an honorable gesture), but, as Jones’s luck would have it, Yhwh appeared out of nowhere and hacked him up in a sensational and bloody death. Shelob’s defeat is nothing like this, because here the Aryan-minded Sam honorably lets the wounded Shelob decide if she wants to continue the fight, then seeing that the fight is over, he removes his opponent from the arena and claims victory.
Later, on the final ascent into Mount Doom, Frodo’s previous luck in his fight with Gollum proves worthless. Gollum reappears in full force to fight and is only defeated when Frodo actually intentionally pushes him into the volcanic belly of Mount Doom. By this point Frodo had already lost a finger, not to mention nearly losing his sanity. Frodo briefly becomes possessed by the Ring of Power and even puts it on, however, his momentary descent into its corruption (after having resisted it for the entire journey) is in no way as relentlessly potent as Gollum’s fanaticism for the golden idol (which has been feeding and driving him for centuries), and thus Frodo’s loss of a finger and therefore removal from its control over him is hardly luck, just a logical outcome of events. In the moments prior to losing his finger, Frodo had been overcome by its spell and was moving to kill Sam who had told him to dump it onto the molten flow. Anyone who is under the power of the Ring cares for nothing but the Ring, and thus Gollum predictably catches Frodo off guard.
Now, Frodo has literally been to Hell and back. He is changed forever as are all characters who come under the Ring’s power. Boromir died because of it, as did Isildur before him. Frodo, as we later see later ascends to Arhat, Foe Destroyer, and so his brush with the Ring doesn’t overtake him completely. Additionally, Frodo has a loyal comrade with him and this relationship soon proves essential for completion of their task. Sam is able to save Frodo from falling into the mountains bowels, but not by simply grabbing him and pulling him up, as even this remains a joint effort. However, even this doesn’t prove enough for a happy ending. There truly are no freebies here. This story doesn’t simply cut to a comfortable end. The painstaking escape from the erupting Mount Doom is shown in its entirety. The film even cuts to black several times during this drawn out sequence as if appearing to prepare to fade in on a feel good ending. No, it keeps going until finally, other comrades extract the two Hobbit heroes from Mordor. There is no luck, just effective teamwork and camaraderie. This ending is practically a satire of the mainstream film endings previously mentioned, as well as a ridicule of the entire Lone Wolf Archetype.
In the end one thing may be clearly defined: Heroes are measured by what they do.
This also means that a hero can be anyone. A hero can be a former enforcer of Zionist power who turned to defiance and revolution, such as John Preston from Equilibrium. A hero can be a small town farmer who realizes a great task requires completion and he thus volunteers for the job, such as Frodo Baggins in The Lord of the Rings. A hero can be the daughter of ship captain who rejects offers to become a privateer for a slave driving empire, such as Morgan Adams in Cutthroat Island. A hero can be an unemployed drifter who stumbles upon the truth about the corruption in society and decides to become a defiant and a revolutionary, such as Nada in They Live. A hero can be a princess who serves her folk and rallies them in times of danger, such as Nausicaä in Nausicaä of the Valley of Wind.
Heroes can come from all walks of life. A hero can be a former assassin for a corrupt government agency who is now turned in defiance against her past employer who is staging a false flag terrorist attack, such as Samantha Caine. A hero can be the private detective who had helped Samantha Caine recover her memory, and then didn’t leave when the situation truly turned dangerous after a conspiracy was uncovered, such as Mitch Hennessy from The Long Kiss Goodnight.
In religion, this is emulated via actually following in the examples of the prophets and not by merely believing in them or that their deeds were the best example of good. In Christianity, the prophet Jesus Christ was a carpenter who inspired people to turn against the manipulative and usurious Pharisees, who promptly started a campaign of defamation ending in Jesus’s public execution. However, Jesus’s campaign was ultimately successful and resulted in a new text, the New Testament, a condemnation of Jewish/Tanakh thinking.
In Islam, the prophet Mohammed realizing the decay that had over time permeated Jesus’s teachings, took it upon himself to re-introduce them in a pure form and moving forward from there, which resulted in the Koran, a text emphasizing more than just the importance of honest work (Islamic banking to this day shuns usury), but also stressing the necessary discipline and militarism needed to keep it effective. Not surprisingly, the most prominent anti-Islamic propagandists are Zionists and their neo-Nazi golems.
In Buddhism, which developed separately from Christianity and Islam, though it also started at the same root: a shunning of materialism. However, here it was a Hindu prince born into endless luxury who saw the dangerous imbalance that such excess causes on a society. Thus, he went on a journey, both spiritual and physical, and brought into the world what is now the Buddhist philosophy, which stresses the universal inter-connectivity between all living things and calls for harmony. Buddhism openly uses the Swastika to symbolize this core idea and it was for this very reason that Adolf Hitler adopted it for his social and political movement.
The Swastika is a symbol of universal light and eternal knowledge, and is thus present in many cultures across the world. The Swastika represents the Sun, our planet’s main energy source, and was thus appropriately placed on a flag by Hitler to be hoisted up to be seen by all. The Swastika represents productivity and the time of day, a time when plants grow, when the fields are tilled, when most people work, and world is in clear view.
Virtually all of these ideas are, in some way, discussed or shown in both the original books and film adaptations of The Lord of the Rings. Other films that have been discussed on this blog also communicate Aryan ideas. However, these films will not determine whether or not a viewer sees Aryanism, rather Aryanism will determine how the viewer sees the films.