Olympia Part I – The Festival of Folks

Following up the revolutionary Triumph of the Will from 1935, which showcased the ideals of National Socialist society and celebration, Leni Riefenstahl followed up with an equally uplifting film displaying an epic patchwork of athleticism and human beauty, Olympia.

Folk, not Nation
The first part of this film is often approximately translated into English as “The Festival of Nations,” however retaining the world “Folk” is key here, since while it may have meant “nation” before in German, Hitler had used the word with a clearly different and radically new connotation that was freed from the previous left/right or liberal/conservative paradigm. Throughout his writing, Hitler routinely used the term “folk” to describe many groups of people, from the Italian Folk led by Mussolini whom Hitler largely appreciated to the American Folk under Roosevelt whom Hitler genuinely despised. The term “Folk” was also never made synonymous by Hitler with “Nordic,” which was a racial term that Hitler acknowledged made up a significant portion of the German Folk, though not all of it.

“Nordic” was but one racial kernel in the German Folk patchwork of several neighboring, and in some cases, more geographically distant races.

This essentially debunks the common ridiculing notion that “an Aryan is as blonde as Hitler, as tall as Goebbels and as slender as Goering” or some other crude satire. The point is that “Aryan” is a mythical root race to whom Hitler was attempting to steer a return to and it should be no surprise that after centuries and even millennia of diffusion that most of the overt idealized traits were mostly missing from the masses of any country at the time. The first step in Aryanization is ideology and this was the first step on National Socialism – give the masses a new way of thinking about who they are and what they can become. Riefenstahl’s film about the 1936 Berlin Olympics is a perfect place to showcase that since the games have always put quality over quantity and many of the classic sports disciplines are militarist in spirit.

Note that the Olympic Salute resembles the Roman Salute that was adopted by the NSDAP. Additionally, and perhaps most importantly, this film is a brilliant display of NSDAP positivism with a collage of athletes from all over filmed in a way to underscore the grace of their form and discipline with not one word about Jews, thus a viewing of this film, as with Triumph of the Will, demolishes the myths about a supposedly hate filled Third Reich. The various Folks enter in individual groups within a parade to start the film and then dancers with flags do a routine to end the film: thus cooperation in militarist and athletic disciplines brings people together. Also, military officers in the splendid Third Reich uniforms are seen as part of the Germany delegation on entry.

A Message in Images
Being a documentary, Olympia has no storyline, and on top of that, there is even less dialog and overt symbolism than in Triumph of the Will, however the film does have a message and it is conveyed purely in its images and sounds, which are some of the most beautiful renditions of athletic prowess ever made with groundbreaking techniques for their time that invented the entire genre of sport photography. Not since the statues of Ancient Greece has human beauty been shown in such a complete and absorbing way, demonstrating grace and precision along side strength and power. Athletes can be vividly seen to throw, run, jump, spin and glide through the air as Riefenstahl’s camera captures key moments in slow motion to accentuate the discipline and technique of each competitor. This use of various frame rates is especially effective for the jump-based events and there are many of them throughout the film. The quality over quantity message is made clear with the film showing the final stage of each event, meaning the best of the best are shown attaining their highest achievement.

During the start of the marathon the announcer says, “56 runners are fighting with all their might for their honor and the victory of their country” (1:41:12) and this sequence then contains, among others, a shot of dark skinned athletes chiseled musculature (01:47:19). Something that could have been easily not even filmed, let alone edited into the final cut of the film if there was any intention in conveying an ode to white supremacy as NSDAP propaganda is wrongfully interpreted today as. In fact, the message of National Socialism is aptly summed up in a description of the Finnish marathon team when the announcer says, “three runners, one country, one will” (1:43:52) as the athletes run together as part of a team pacing strategy. This is a very Folk-sounding choice of words and precisely why the image and overlaying commentary made it into the film. Also notice, that Finns, a northern European ethnic group is not praised for being “white.”

After the mens pole vault final goes for much longer than expected, Meadows from team USA wins and is shown shaking hands with Nishida from team Japan, the second placed vaulter (01:33:08). And so, athleticism trumps ethnic differences.

A landmark that can be seen as the film opens is the Olympic Torch Relay sequence shown over a map of Europe with the Torch traveling from Athens to Hitler’s Berlin. The Olympic Torch itself was an antique feature re-introduced at the 1928 Amsterdam Olympiad, however the Olympic Torch Relay was a unique idea of National Socialist Germany appearing for the first time at 1936 Berlin Olympiad. The idea of passing on a torch in relay is the symbol of passing on idealism from one able hand to the next who can take it ever further. This journey of idealism symbolized by the glowing torch takes a coordinated effort and perfectly encapsulates the spirit of a Folk striving for higher goals.

“Catholicism, Protestantism, Jewry and Naturalism must be cleared from the field before beginning a new world outlook, so that they are no longer thought of, just as the night lamp is no longer thought of when the morning sun shines over the mountains.” ~Alfred Rosenberg

A Nation is group of people with a common past.
A Folk is a group of people with a common future.
Forward thinking. Positivism. Quality over Quanity.

Mythbusters: The Third Reich
The most interesting aspect of this film is how it totally disproves the mainstream notions of the Third Reich and hence is not shown, unlike the “personal stories” of hundred and thousands of interested parties is. Zionists, being Jews and their dogged Gentiles, insist that Hitler’s Germany was the blueprint for a terror-based racist police state. Neo-Nazis don’t quite go that far, but they mainly affirm the Zionist myth while merely thinking it was a good thing, thus fall under the aforementioned “Gentile” category by being useful idiots to the tribal ringleaders of Zionism.

The Allegation – The Third Reich was the most racist state ever.

“That’s bad,” say Willful Zionists while Useful Idiots say, “that’s good.”

That’s the false paradigm of Zionist Correctness.

Yet, if Olympia was sanctioned by the supposedly most racist government in the supposedly most white supremacist country ever, then why is this man given the most close ups?

Jesse Owens is the most praised athlete in Olympia who is given the most individual screen time and always with accompanying positive commentary. The US anthem plays as he receives medals for his victories. At one point in the film (01:13:04) African-American fans are shown seated in non-segregated seating.

Just before this scene, an African-American athlete won the men’s high jump event and the stadium announcer says, “the jumpers from America win” referring to their citizenship not their race. At one point (01:35:15) a German team is even shown making a fatal blunder, thus if this film were about German or European supremacy, a moment such as this would not have been included. There are a few mentions of “white race” though never implying superiority and in line with parlance of the 1930s. The first mention of anything that can be interpreted as white supremacy is when the announcer calls Godfrey Brown of the UK “the fastest white man in the world” (01:38:56) before a sprint final. In fact, the first mention of racial or ethnic differences is right before a sprint event where the announcer says, “Two black runners against the strongest of the white race” (52:04) and in the ensuing event, an African-American athlete is seen to win.

On top of that, Jesse Owens stood by his story that he was not snubbed Hitler, but actually shook hands with him. He also felt better treated in Germany than in his own home country that essentially had him in perpetual subject (not citizen) status, though that same country used his own athletic talents to boast about itself and then went on to a definite political alignment with Zionism.

Olympia was a key part of the Third Reich’s propaganda of its ideals. It was sanctioned, financed, and approved by the NSDAP. Given their authoritative positions, Hitler and Goebbels must have each personally approved of the film for it to be released. They also had the authority to recall it, which they didn’t do despite having previously exercised that very authority on a film, The Victory of Hope (Der Sieg des Glaubens), due a former NSDAP member, Ernst Röhm, being found out as a traitor. Thus, we see that in true militarist form, the NSDAP was more preoccupied with the ideal of loyalty, not skin color, in its propaganda.

“Under close scrutiny, the division into races according to the color of skin turns out to be quite the crudest and most obvious method, since there are noticeably inheritable characteristic racial differences among people of identically colored skins.” ~Alfred Rosenberg

Now think: Why are competitors of ethnicities other than European ones shown winning in the film? Would neo-Nazis include this film in one of their gatherings? What would they think of shots such as the one in which a dark-skinned athlete’s musculature is shown during the concluding marathon event? If this film was supposed to be used for exalting only the Europeans why was this image included? In fact, why are so many images of non-Europeans showing athletic prowess of non-Europeans included with positive commentary in a film funded by a supposedly “white supremacist” government? Why are there no attempts to directly praise any race, white or otherwise?

The answer is simple: the Third Reich’s ideas concerning race theory and also their actual practice was different than what the current establishment teaches.

Additionally, why are Olympia and Triumph of the Will not prominently shown or studied, while neo-Nazi garbage like the National Alliance sanctioned video game “Ethnic Cleansing” and William Pierce’s pulp fiction, “The Turner Diaries” and “Hunter” are upheld as the standard of “Nazi Propaganda?”

The answer is also simple: Zionists, being Jews and their dogged Gentiles, do not fear neo-Nazism, since neo-Nazis may despise Jews, but they adopt their methods and thus YHWH the demiurge also lives in them. However, Zionists and neo-Nazis (Zionism’s useful idiots) do fear authentic National Socialism and thus do all to distort, muffle, and silence its actual incarnations.

There is an image from the Third Reich’s propaganda that seems to suggest “black is bad, white is good” and that’s the poster for Rassenschande (“Race Shame”). Yet, the image is drawn and black figure is clearly a caricatured Jew with the “black” being an old symbol from Western literary trends and not a particular skin color. The Orcs in The Lord of the Rings are associated with black and the popular film adaptations showed them with dark skin, yet the books and films were barely considered racist and, in fact, they’re not. Though, they do remain fairly Euro-centric in viewpoint as author J.R.R. Tolkien lived and worked in Europe for the better part of his life. There’s also the “dark side” of the Force in Star Wars, which is hardly a racist concept. Thus, the “dark” Jew in the Rassenschande poster is just being associated with the symbolism that suits the NSDAP’s message. In contrast, “white” (really “orange” given the poster’s color scheme) is the opposite symbol signifying purity, just think of traditional Western bridal gowns and images of heavenly angels.

“All propaganda must be presented in a popular form and must fix its intellectual level so as not to be above the heads of the least intellectual of those to whom it is directed. Thus its purely intellectual level will have to be that of the lowest mental common denominator among the public it is desired to reach.” ~Adolf Hitler, Mein Kampf

However, this simplification is a double edged sword. It’s easier to make people believe in a superficial fad than have them listen to and comprehend a sincere and rational explanation or an elaborate and skilled motion picture. Yet, with film releases such as Olympia, the NSDAP can be said to have tried and break this mold and also offer something well above blunt sensationalism, in fact it can so far as to be considered beautiful that holds up to this day, as sports photography has remained popular ever since its first epic display by Leni Riefenstahl’s famous Olympic film.

On the other hand, the vast majority of propaganda directed against the Third Reich, namely “Holocaust Literature,” is made up of diaries, personal stories and accounts, tear-provoking fictionalizations and/or re-enactments and the like, which are praised and beloved for the emotions they stir, but it’s all a liaison of morbid sensationalism and self-serving speculation that’s certainly created quite the fad.

All the while scientific studies of the concentration camps by individuals such as Carlo Mattogno and Germar Rudolf, which focus on the technical aspects of the camps by consulting original documents, photographs and refer to chemistry, physics and rational explanation to what was possible there are denounced as heresy and “denial” of things that should be “self-evident.” The same goes for studies on the social aspects of the Third Reich that a viewing of Olympia, among other interesting primary source studies, can bring to a sober perspective that the mainstream sensationalisms have sought to keep obscured.

This is all very reminiscent of Lysenkoism in the USSR, where research was selective, sponsored by a clique in power with all those who disagreed (most notably scientists from the Mendelian school of thought) being sent to the gulags or executed.

In understanding the Jew, this current reality of blurred truth and garish lies may be disheartening, though it should not come as a surprise, since the archetype of the Jew is the herder/pastoralist. The Jew’s very method of being demands a manipulation of goyim be they flocks of sheep to be bred and slaughtered or non-Jewish peoples to de duped and slaughtered in wars fought for the interests of Zionism – the herding technique may be much more sophisticated in the latter, though at its core, it remains the same. Thus, useful idiot Neo-Nazis are duped by a “Hitler fad” and march around displaying Swastikas, SS Bolts along side their inbred idiocy and Jews are not afraid of them. They tacitly encourage these groups and largely live off of their perceived threat and so sites such as Stormfront and The Daily Stormer operate without much problem being the pasture for White Nationalism. Sites such as Vigilant Citizen, InfoWars and David Icke’s forum are like are the pastures for those who sense something is wrong, though still lack that extra step that Hitler took. This idea was conveyed well on the Game Theory Channel on YouTube: The Red Pill gives the illusion of escape.

However, paradigm-shifting revisionists who consult primary, and often still not translated, sources are kept hazy and vague by the media, which includes internet servers. First hand accounts of the Third Reich’s message, being films such as Olympia and Triumph of the Will are held shadowed by the politically correct (and Zionist Correct) academic establishment. The reason being is that Jews are afraid of authentic National Socialism since it goes completely against their convictions in an unprecedentedly effective way.

Jewish Pathos
Pathos is the manipulation of emotions to prove one’s point and Jews excel in this trait. They had to in order to survive within a state structure and do so to this day. Where Jews are a minority, they throw upon the non-Jews of the state their myths and sensationalisms and where they are dominant they ensure that their children are adequately scarred to follow their path to carry on their recurring fabrications.

One of the simplest examples of Jewish Pathos is the Zionist description of Amalek, a sworn enemy of Judaism, who has been vilified as blood sucker and war monger ever since. Hitler has been associated with Amalek, yet this is pathos and a hallmark of tribalism by convincing yourself and others that your tribe is the best or has been “chosen” by a higher power. In this regard, Jews and ethnic nationalists are identical as they promote and spout endless tales of the suffering, real or exaggerated, caused unto them by others.

Another, more recent example of Jewish Pathos are the reactions to one possible bit of “anti-semitism” in the film Act of Valor in which a terrorist financier is depicted as Jewish, though this only comes up in passing dialog in one scene, yet the Jew Debbie Schlussel thought this merited comparing the film to the propaganda of Joseph Goebbels and decrying it as evil in one of her typically rabid rants. Has she even seen Olympia or Triumph of the Will, which are films that don’t even mention Jews, thus according to her own logic these legendary NSDAP films are less “anti-semitic” than Act of Valor! The joke is on her.

“The Jew is immunized against all dangers: one may call him a scoundrel, parasite, swindler, profiteer; it all runs off him like water off a raincoat. But call him a Jew and you will be astonished at how he recoils, how injured he is, how he suddenly shrinks back: ‘I’ve been found out!’” ~Joseph Goebbels

These same Jews, of course, raised hardly any concern over the entire Iranian people being portrayed as beasts in the Jewish produced film 300. Nonetheless, the Jew Susan Sontag managed to provide some Jewish Pathos by saying that the film would please “Adolf’s boys” thus keeping the confines of Zionist Correctness by disregarding true NSDAP propaganda like Olympia.

One more thing about Jewish Pathos, here is one Zionist response to the 1936 Berlin Olympiad:

By 1937, the Jewish screeching and wailing, diplomatic obstructionism and manipulation, sensationalism and hyperbole, was well underway.

Conclusion
A final question to ask: were there racists in the Third Reich, perhaps even within influential positions? Yes. However, the key thing to realize is that Hitler was not one of them. Neither was Goebbels. Hitler and Goebbels were so far beyond the petty squabbles of the masses that it’s no wonder so many were enthralled by them, yet so few truly heeded their words and emulated their actions. The fact that Hitler ordered the creation of multi-ethnic, non-segregated Waffen SS units – soldiers from various places united under one banner – was unprecedented at the time. Napoleon’s Grande Armée only had Europeans, which was apt enough for Napoleon’s simple goal of a Franco-centric European order, however the organization of the Waffen SS was clearly much more demanding and profound – entire masses of non-Jews united against Jewry and its proxies.

That sounds a lot like Amalek, indeed.

“To be modern only means to fill new forms with eternal truths.” ~Joseph Goebbels

Lastly, two Jewish athletes from the USA’s team were stopped by their own team’s administration from competing in the 1936 Berlin Olympiad. The official Zionist explanation is that this was done to not embarrass Hitler should they win, which sounds a lot like typical Jewish self-serving speculation. Whatever the reason, their exclusion was very appropriate as the “anti-Folk” has no place in an event called the Festival of the Folks. Jews were never even central in the ideas of National Socialism anyway, yet they themselves have arrogantly made much of the world believe just that.

“Defending against the Jewish danger is only part of our plan. When it becomes the only issue when National Socialism is discussed, that is Jewry’s fault, not ours.” ~Joseph Goebbels

Watch the Film!
Olympia on YouTubetime codes and text in this article refer to this online version
Triumph of the Will
– another documentary by Leni Riefenstahl

External Links:
The Political Nucleus of Aryanism and National Socialism
National Socialism Basics

National Socialism & Nazism

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Humor Nazis – 11

Episode #11:
Saving Private Ryan – Alternate Ending

PWNED!

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Repo Men: The Traps of Debt & Transhumanism

Contents
1-Pillory and Stocks
2-Citizens and Subjects
3-Struggle and Conflict
4-Veils and Traps
5-The Call to Arms
6-The Hero
7-Further Information

An interesting movie from 2010, Repo Men, examines two popular ideas. One of these is old and the other is relatively new with both causing significant problems and dangers for civilization. The first of these is the old and sly snare of debt that can lure subjects via false or unattainable promises into being legally obligated to give away their earned livelihood. The second one is the much newer idea, which became officially termed as “transhumanism” in 1957, though the idea had been slowly developing well before that. The clever part of Repo Men is that is actually merges these two concepts into one element that is headed by a shadowy corporation that is very appropriately called The Union.

Pillory and Stocks
The film takes place in and around a large unnamed city that clearly is a major center of commerce and politics. It bears a certain resemblance to Los Angeles as presented in the 1982 science fiction film Bladerunner. Advertising is in a great many places with a clever mix of large and small displays to make it nearly inescapable from sight, but also not overbearing, as there is no sense in seeing only a tiny part of huge billboard. For instance, a school building can be seen to have a screen cycling ads. This same idea is later repeated when children playing a jump rope game sing a rhyme with references to “artiforgs,” or “artificial organs,” the very thing that the Union uses to put its clients into debt. Thus, we can see how far entrenched the Union’s foundations are. They have extended into the common speech of everyday people from an early age or something along the lines that the current Disney mega-corporation enjoys the most conspicuously, although some others are too far off from it.

The film’s opening narration is about a mad scientist experiment that, one – puts forth a key theme, and two – also seems like a satire on the Holocaust gas chamber story: a scientist puts a cat into a box and then fills the box with gas. Now he has no way of knowing whether the cat is dead or alive. Remy, the film’s narrator muses that it’s as if the cat is alive and dead at the same time. It is in this very state that most of the indebted people in the film are, since they are indebted via organs of their own body – they are dead if they can’t make payment on high interest. An advertisement for the Union states, “thanks to modern biomedical science, the days of waiting and praying are over” suggesting a secular and totally materialist reality, which was a goal of the former USSR, and now artificial and eugenic elements are being mixed into the bunch. This is nothing other than transhumanism, which is supposed to merge organic human life with technological components.

The size of the city, though never mentioned outright, is shown to be a massive and highly concentrated metropolis and something most capitalist economies would be proud to claim as their own. Corporations like the Union are reaping the benefits of a huge, poorly informed and purely commercially driven population that lives to be pulled by a web of consumerist strings. A large street sign near the beginning displays writing in English and Chinese. While it is not uncommon for many large urban areas to display important signs in multiple languages, the film’s choice of languages is telling for a symbolic point: East and West have become mixed into a sprawling urban mass that is as rootless as it is helpless to its overlords. This is the Marxist Internationale fitted into a system that is much more profitable for its bosses and offers many more shackles for their subjects. The ends of the Capitalist/Communist dichotomy have become the pillory and stocks for the common people.

Cultures, history, higher arts, agrarianism, a sense of wonder about the universe, the boldness and assertiveness of the individual personality and its creative endeavors, as well as the considerations for an ethical existence of humanity have been expunged from society. What remains are endless materialist distractions that steer people to pay attention to ultimately one thing: material worth, which has become the means and the end. However, there are those who sense that something is wrong.^

Citizens and Subjects
Remy, the main protagonist, is one of these very people. He is the common archetype of the loyal enforcer who begins to sense a general ill before finally being confronted with the other end of the system that he has been upholding. Remy starts content with his life and his work. After a successful and typical organ repossession (in which the target dies) Remy muses, My job is simple. Can’t pay for your car, the bank takes it back. Can’t pay for your house, the bank takes it back. Can’t pay for your liver, well, that’s where I come in.” He compares his job to banking and high finance, which is the root of usury, or the making of money from the ownership of money. The Union in the film has adopted the banks’ methods for its own ends, and thus, along with other corporations and conglomerates doing the same thing, the world has gone through a paradigm shift in which only money and materials matter.

Remy starts fairly content with his life and work, as he has become a very effective repo man and living in a nice suburban house that’s in stark contrast to the overbearing and congested nearby metropolis. He thinks back to one of his first assignments with his friend and fellow Repo Man, Jake. It was a repossession during the Christmas season making it a very concise symbol on part of the film: the season of caring and giving has been degraded to pure materialism and even outright taking. A repossession of an artiforg usually results in the death of the carrier of the artiforg, thus we see that property rights have become more important than sentient life itself. Additionally, Christmas is meant to be a time when a birth (among other things) is celebrated, but in the film Remy and Jake doing their job for the Union effectively celebrate a death in this scene. However this satisfaction of doing the job right steadily changes as first Remy starts to notice uncomfortable details close to him. Later he begins to intentionally examine just what it is that he does and why, before finally outright rebelling against the Union. An early indicator of Remy’s suspicion and skepticism in the film is actually the film’s promotional poster. This is a very interesting image that speaks about the film’s character arcs quite well.

Repo Men_posterIn the foreground, we see Remy holding a coffee cup with the Union logo and a splotch of blood can be seen almost reaching the logo. This is very telling as the Union’s bloody deeds are just out of sight due to their PR campaign sophistry. In the film, Remy says, “almost every job I do ends the exact same way. Some whimper. Some cry. Some even laugh. But in the end, they all do the same horizontal mambo, twitching and thrusting their way into the great beyond.” The great beyond is often presented as a white light, much like the very bright and overexposed background of the poster.

Additionally, Remy is breaking the fourth wall. He is looking right at the audience or outside of his character’s paradigm.

Thus, the idea of him sensing that something is wrong, as well as actually looking past his initial confines is communicated right in the film’s promotional artwork. Jake on the other hand holds his rifle (that Repo Men used to subdue their targets) and stares ahead likely blinded by the brightness. The interwoven metaphors are of being blinded by one’s job that offers a privileged position in society (Jake has a nice apartment) and of being dead (seeing the “great beyond”) due to living an essentially empty existence, or one just for material gain.

Jake’s character is aptly summed up in one of his quotes. Talking to an increasingly disillusioned Remy, Jake says, “Can I just ask you something? Now what do you think keeps a world like this as shit together? It’s not magic. It’s not. It’s rules. It’s people abiding by the terms of the deals they signed themselves. It’s rules. You know what’s more important that the rules, though? It’s the enforcement of those rules. We got a responsibility you and me. What we do, maybe it’s small I don’t know, but… it matters. It matters.” Thematically this is a repeat of Remy’s opening quote. However, it is much longer and it is obvious that Jake buys into the present order much more than Remy who has his doubts. The first line of the above quote is also framed in the film so as to make it look as if Jake is asking the question directly to the audience. This is a kind of parallel with Remy’s breaking the fourth wall in the poster, though Jake’s action is shown to be much weaker and insufficient. There is also a parallel in each character’s introductory scene: where Remy is merely doing his job moderately satisfied with a hint of monotony, in Jake’s introduction he lightly tases Remy as a joke with the same taser that he later uses to knockout targets for repossession. Thus, from the start Jake is much more involved with his job, he actually enjoys it and therefore goes on to later rationalize and justify it.

Frank Mercer is the boss of the Union branch where Remy and Jake work. His name is an ironic reference to frankness and mercy. The irony is seen in Mercer’s key quote during his introductory scene: “We want them buying not thinking.” This is the essence of blind and purposeless consumerism. Mercer also states that he wants clients to take out a loan and not pay all up front, or worse yet, in cash. This is the very business model that current credit card companies follow so that they can rack up as much interest as possible. In Mercer’s introductory scene he also gives a pitch to a worried looking client about accepting an artiforg and he concludes by stating, “…not until after the sixth day of the fourth month of nonpayment will we retrieve the property, at our own expense, of course, utilizing our skilled and licensed technicians.” This sums up the Union’s sophistry as they make a death and bodily desecration seem like a normal and even clean procedure. It should be noted that in this scene, the client is sitting in a chair, while Mercer sits on a desk leaning over him ever closer as he gives the sales pitch and eventually just hands him the paper to sign, “you owe it to yourself and your family.” Just as Capitalism and Communism seem to be separate worlds for most people, when in fact they are opposite ends of the same spectrum, a false dichotomy, so too goes for gentleness and coercion, and the corporate top tier in the film has mastered and fused both ends of the spectrum for its own purposes. It has bound its subjects into another paradigm that they cannot see beyond. An old trick has been cast into a new form.

There are also a few other characters to consider. First, is Beth, a nightclub singer, who is revealed has to many artiforgs that she is basically a cyborg at this point. Her character is the most revealing of the status of this technology-addicted society: it looks appealing and even beautiful at first, but then turns out perilously unstable and a victim of its previous gains and apparent achievements. Beth’s character’s high point in the story is shown in the same scene as Remy’s character’s high point, though the latter’s takes a sudden downturn in the very next scene which is linked by the same music playing. This abrupt change is then mirrored when we find out Beth has fallen deep into debt and is being hunted by repo men in her character’s low point scene, which is also Remy’s character’s low point scene as he is also at the mercy of the system that he once worked for. Second, is Carole, Remy’s wife, who dislikes his job. Remy’s failure to be decisive in choosing either his family (people he has made a commitment to) or his job (a contract that may be changed) leads to Carole making her own decision. Peter is Remy and Carole’s son. He is one of two child characters with key scenes in the film and this makes him stand out. Even the clothes Peter wears are noticeably more cheerful as he literally seems to be the last of few examples of youthful idealism and Original Nobility left in the world. Near the end of the film, he is given an important task that contrasts his initially sidelined character.

In an early scene, Carole complains that no one is eating a salad that she made, and this is the only reference in the film to anything related to agrarianism. Everyone in that scene is eating grilled meat which goes right into the theme of destructive consumption as meats and dairy are the least efficient food products in land and feed use to nutritional yield. Thus, she seems to have retained some positive qualities, though her fault is mere reacting to frustration, which proves ultimately fruitless. Remy initially tries to ignore his frustration with the world, however he later goes on rebellion against it.^

Struggle and Conflict
The first step of Remy rebellion comes with Carole, Remy’s wife, not liking his job as repo man. Despite their nice house and comfortable living conditions, there is not an ounce of happiness between them no matter how hard Remy tries to ignite a spark. When one of Remy’s fellow Repo Men, Jake, performs a repossession in their home’s driveway, Carole decides that this job has gotten too close to home and simply leaves taking Peter with her. This abrupt decision mirrors a business decision in its coldness. Any sense or semblance of idealism is falling away from Remy’s world.

Previously, Remy had seen Beth, the nightclub singer, and the song from the nightclub played over the scene when Remy was attempting romance with his wife, but she refuses and walks out turning off the radio and music. These two very clever scenes are linked by the same musical motif – what starts as hearing an apparent ideal, a pretty voice, is overlaid with the ideal of a romantic marriage, but as that’s refused the song ends up being turned off. Both ideals of music and love are flicked off with a switch. What’s more, is that later we find out that Beth has many artiforgs, including her vocal chords, thus making her something of a human-radio combination. In one scene, her voice is demonstrated as being controllable via remote as well and able to switched on and off. Thus cinematic language embeds the themes of technological dominance and dependence into the movie just as those elements have been embedded into the society that is shown. In a flashback to Remy’s military service with Jake, the battle seems to be like video game and they both sit in some sort of armored vehicle and eagerly shoot at targets that they only see on a screen laughing as they go. It literally plays out like an immersive or even virtual reality video game and they may not even be in a tank, but rather in a control station for a combat drone. Additionally, this war scene is likely to be the engineered conflict that led to creation of a new, technologically dependent and consumerism-based order in the form of the super-state that’s implied via the film’s metropolis.

A major turning point is when Remy falls into the snares of the very debt system that he so rigorously upheld and this happens in an unexpected way. He is assigned to repossess the artiforg heart of a famous musician of whom he is a fan. Remy goes easy on this target and let’s him finish a final composition before after which the man calmly accepts his fate. However, it’s a deceptive calm as Remy’s defibrillator malfunctions, shocks him and knocks him out…

…and Remy wakes up in a hospital with Jake and Mercer present, and he is informed that his heart was severely damaged, but he was saved by being fitted with an artiforg heart! Mercer even gives him the standard sales pitch with lines repeated from his introductory scene as he stands above Remy’s hospital bed. A short while later, Jake tells Mercer that was a bit too condescending, after all Remy is reliable Union Corporation employee with a very good record. Remy is terrified as he has not only fallen from a privileged position, but has actually fallen down to the level of the fodder of society. He had no choice in it, either. He has no one and nothing to blame, not even himself. Remy tries to go into the Union sales department where he gives pitches to prospective clients and future debt victims, however he finds himself unable to give a good spiel. He feels too much empathy for the people knowing very well where they are most likely to end up. He tries going back to being a Repo Man, but he can’t do that either.

In an interesting aspect of film design, the sound effect that conveys Remy’s fall from expert Repo Man is his own artiforg heart beat. Thus, he finally feels “in his heart” (and increasingly in his conscience) the injustice of the system he has worked to uphold. Ironically, it’s a fake heart, however his motivation is genuine and Remy’s first show of sympathy for a repossession target was the musician and that point he still had his real heart. Though, it’s only now that he has come to a more profound realization. Remy says, “my heart is accumulating debt with every beat.” He is a living, breathing, and functioning debt-accumulating machine and has finally seen what it is that this society wants out of its subjects. Jake gives Remy one last chance to rise back up to his former high chair within society, by taking him to a rundown part of the city where many debt victims are hiding and here he can hunt down as many as he needs to rack up hefty commission and pay off his debt. On the side of one of the buildings is a large sign that reads “Paradise,” making it a false representation of reality. Remy’s former sharp skills have also been sapped and he cannot get himself to do any repossessions giving him a close up look at this new reality as one of his potential targets fights back and knocks him out. And thus, Remy finds himself at his low point and here he meets Beth, the former nightclub singer whom he saw performing before. The veil of their previous worldview has been lifted to reveal the truth of existence: “Paradise” is most definitely not attainable by a system of materialism and mass consumption.

Up to this point in the film, there has been a theme of foreshadowing. In the beginning of the film there is scene with a heartbeat sound and brief flash of a palm tree on what seems to be a beach. We already know that Remy’s heart has become a central point in the story, and the beach scene is also relevant. It reappears later as a shot that starts on a beach, but moves back and exits out of a television screen, suggesting illusion. Tropical beaches are also often referred to as “paradises.” Additionally, up to this point in the film Remy has been providing a voice over narration starting with his apparent satire of a homicidal gas chamber to writing a recollection of his experiences as a Repo Man that’s meant to inform the people of the city about the corrupt system. Now, the film has come full circle and we are back at the point of the very first narration and Remy has finished his book, “The Repossession Mambo,” which is also the title of the book adapted for the film’s screenplay. With this, we return to the idea presented in the poster: Remy breaking the fourth wall and stepping out of the film. He had already been doing this, to a degree, with his voice over narration: he has been talking directly to the viewer. Thus we can see where he intends his words to go: to inform us against the system that’s exploiting us. Remy is breaking the fourth wall or “lifting the veil” (the meaning of “apocalypse”) and beginning the exposing of a corrupt system while also warning of its traps.^

Veils and Traps
This system is the old shackle of debt slavery and, as noted before, in the film it has taken a new form by incorporating eugenics: it has become transhumanism, or the engineering of humans into golems. Remy had already compared his job to banking and high finance, or the current principal form of debt machinery that sets up a fiat money based debt by masking itself as a path to prospective material wealth. Now we have the looming threat of transhumanism, or a form of debt machinery that cuts even deeper, into your own flesh, by masking itself as a path to eternal life and thus being able to accumulate more material wealth. Or rack up even more debt, if you are of the goyim! The top ideologue of transhumanism with his “Singularity” concept is the Jew Ray Kurzweil.

Only a secular and materialist cult, as it barely deserves to be called a religion, such as Judaism could spawn such line of thought that attempts to totally negate the principal guiding idea of most other religions: achieving a higher ethical being on Earth and ultimately transcendence of physical reality, be it Heaven, Nirvana, Salvation, or whatever name a particular spiritual teacher had communicated to their students and followers. “Live Forever” may sound appealing yet it is only to keep humankind trapped in a material prison where they can be indebted while the Zionists, too living forever, can eternally reap the benefits of their goyim’s exploitation. This is the ultimate goal of the Herder Archetype that goes back to ancient Jewish pastoral traditions – the Herder Archetype.

The danger of this has been communicated before and most famously with the ugly picture of Shylock the Jew who binds the Venetian merchant, Antonio, with a debt of a pound of flesh and attempts to stop at nothing to collect.

Jews have never forgiven William Shakespeare for his play, The Merchant of Venice, and the Bard’s persistent popularity has been a thorn in Zion’s side since the work’s first performance. The typical tactic here is to shame the target and Jews have applied their traditional tactic of defamation to even Shakespeare, though quite carefully and only call the play a “disturbing and inconsistent blot” referring to spilled ink and something that is hard to remove as Jews forever remind everyone of nearly every criticism they’ve ever faced and built up their entire victim identity around it, while also relishing and boasting about their privileged position in each of their host societies – a perfect example of Jewish Doublethink, also known as Chutzpah.

“Chutzpah is a typically Jewish expression that really cannot be translated into any other language, since chutzpah is a concept found only among the Jews. Other languages have not needed to invent such a word, since they do not know the phenomenon. Basically, it means unlimited, impertinent, and unbelievable impudence and shamelessness.” ~Joseph Goebbels

The Shylock of the film is the ironically named Frank Mercer who is fittingly played by Jewish actor, Liev Schreiber. The Union Corporation logo also resembles a Transhumanist icon fused with a Menorah and the Jewish connections do not stop there. Jake’s “rules” quote is not only related to his employer’s ruthless profiteering enforcement method, but also to Soviet Law that required its subjects to have internal travel passports, and to YHWH’s own law in the form of the Jewish Mezuzah, or a small container with a Tanakh excerpt inside that is meant to be placed on entry doorways, or sometimes even all room doorways, within a house, thereby ensuring the Demiurge’s dominance on its subjects even in their private life. Today’s ever abusive and intrusive internet and media – Facebook is owned by Jew Mark Zuckerberg and based in a building designed by Jew Frank Gehry – along with the ever pressing Zionist lobby that wants to install a worldwide system of Mezuzah laws by prohibiting skepticism towards Jewish narratives with legislation which legally proscribes any person from questioning the mainstream version of the Holocaust under pain of prosecution.” Where individuals venture intellectually and mentally are to be scrutinized under Zionist law and labeled crimes if they oppose YHWH’s dominance. How long do you think it will take before they start plugging wires directly into you?

A much more realistic portryal of transhumanism is actually transorcism from The Lord of the Rings where the wizard Saruman makes “improved” orcs called Uruk-Hai.

The state of Israel is a golem state itself that started as a contract, the Balfour Declaration that was pushed by decades of Jewish lobbying as well as by political and financial pressuring, before being demographically engineered into existence. This was an exemplary reason why Hitler considered the Jews to be the quintessential “anti-folk” or a people with no honest connection to the land in which they live, to them it is all just assets and balances, be they financial, political, cultural or historical.^



The Call to Arms
After Remy falls to his low point, he chronicles his experiences with the Union and putting their dealings in the one place that they don’t want it: in the light. Soon after finishing his book, Remy and Beth are attacked by a Repo Man who has uncovered their hiding spot. Remy kills this attacker by smashing his head with the typewriter and making for an apt symbol: the means to create thoughts outside of the enforced paradigm is a weapon. The old thoughts must be either transformed or smashed. This proves all the more important when an escape attempt by Remy and Beth fails. Remy had thought he could secretly release his finished book from a spot out of reach of the Union and let public opinion take its toll, though he soon sees the futility of this approach and so he takes strategic action. This new course appropriately coincides with the brief appearance of a character named Alba who can speak Spanish and in that language her name means “dawn” – or the symbol of a new beginning. Alba has experience fixing artiforgs and tries to give Beth a new beginning after she has been inured. More importantly, in this scene we also meet the surgeon’s daughter, Little Alba, who actually performs the operation due to her steadier and more precise hands. This surprises Remy who had viewed his own son as someone needing protection and “parenting.” Peter had never been the main character in a scene before, but was always seen sidelined to adults in someway, however here, outside of the main social paradigm, we see a stark contrast in a capable child who’s aptly named.

Jake had reappeared in the story at the airport where he seemed to consider turning a blind eye to Remy and Beth’s escape. However, it’s now revealed that he not only followed them, but it was he who rigged Remy’s defibrillator so that it malfunctions. Remy is shocked at his friend’s betrayal to which Jake only says, “I tried to save your life” and so we see that Jake has a serious case of not just outright obedience, but learned hopelessness about the system that he enforces and anyone who appears that they may be doubting it, seeing other possibilities or moving out is akin to that person dying. Remy is then knocked out in a fight with a Jake.

After he comes to, Remy finds out that Beth had promptly knocked out Jake right after their fight. Now, Beth and Remy must hide as a large group of Repo Men raid the derelict buildings. Remy finds unexpected empathy from some hiding people who are targets for repossession. They initially think they should kill him, though once he reveals he is also a target for repossession Remy is greeted: “Welcome to your world, Repo Man.

After escaping from the raid, Remy tracks down his family and decides to give Peter the manuscript that he wrote for safekeeping and showing that he finds his son more capable than he did before. Carole is annoyed in this scene and just wants Remy to be out of their life. She has learned hopelessness and complacency within the paradigm while Remy tries to pass the torch to the more positivist child. Humorously, Peter tases Carole in this scene suggesting that he’s breaking out of his own little paradigm of traditional parenting and this makes Remy laugh. The beach scene reappears here as a wall advertisement in a subway station with the sign “M5” next on it. It also reappeared as a flash when Remy was coming to from his bout of unconsciousness.

Next, Remy and Beth break into the Union headquarters and pass through an artiforg assembly room where they are ambushed by gun wielding guards who open fire on them, but kill a worker. This whole room looks as if it has a medical cleanliness to it with workers in full body suits and an all white and evenly lit floors and walls. Yet the workers are essentially performing mass production assembly work meaning that this place is essentially a glorified sweatshop. Then there is the carelessness of the security man who opened fire in a room full of workers of the very company he’s supposed to protect, thus displaying a severe lack of empathy or conscientiousness. When the workers first saw Remy and Beth enter, they just looked up for a while and proceeded back to their job like robots. However, the blood from the dead worker spills in sharp contrast to the table on which his body lays emphasizing that he was not a robot.

After the rest of the shootout and a fight, which are the film’s only truly commercial scenes probably put in to satisfy the action requirement for marketability, with the rest of the film clearly being more concerned with ideas, Remy and Beth and Jake and Mercer are all in the Union Corporation’s central computer room. It is at this point that Jake’s previously wavering doubts about the Union pick a side and he actually turns on Mercer killing him. Finally in uniting, Remy and Jake defeat the Union. And then, Remy and Jake are on a beach, the same beach that has been subtly appearing throughout the film. Peter has already published Remy’s book and the Union’s actions are being held to account. It seems too good to be true. In an interesting detail, a woman walking in the background disappears between shots and it is right then that Remy realizes that Jake, who has been sitting next to him, also disappears. The whole scene glitches like a faulty screen… and that’s because all is not as it seems…

…when Remy was knocked out earlier, he stayed knocked out. Beth, partially incapacitated from her artiforg surgery had no real chance in defeating the combat skilled Jake. Remy has been plugged in to the M5 Neural Network, one of the Union’s new products, and he is living out his life in a dream. And so the beach is in fact a computer-generated image. It’s something akin to the Matrix, actually. However, all is not lost. It was at Jake’s insistence that Remy be plugged in so he can comfortably live out the rest of his mental life. Jake did this due to finally deciding to go against the system, just like in Remy’s fantasy version, where the united effort of him and Jake was finally enough to kill Mercer. Physically they may be apart, however their ideals are united. Jake takes Remy’s manuscript as Mercer is seen giving a new business pitch for the M5 Neural Network. The Struggle continues and Ideals live on as the torch is passed onto others.

Lastly, there is a key bit of cooperation here, one that transcends conventional boundaries. Remy is an ethnic European, Jake is an African-American, Beth is a Latina and Mercer is a Jew. This goes for the characters and the actors. If the city in the film is understood as a real life metropolis, such as New York, then the message becomes for the differing ethnic groups to unite against the string pullers of the establishment. In reality, this came very close to happening as George Lincoln Rockwell came to a historic cooperation with Malcolm X in the midst of massive racial tensions in the US. Both charismatic leaders had to simplify and “popularize” their message, though the core of their respective autocratic visions there was a large degree of cooperation for a proposed paradigm shift within the Zionist United States. Unfortunately, though not surprisingly, both leaders were targeted for execution and their less capable lieutenants and/or peers took over and undid nearly all of their groundwork. However, as the film shows, physical unity is not necessary to start, ideological unity is enough. Schopenhauer is dead, Hitler is dead, Rockwell is dead, Malcolm X is dead, however their ideas are still alive!^

The Hero
The sequels essentially ruined an epic revolutionary character arc, though Neo as seen in the first Matrix film is a great protagonist. From his rise out of complacency to his development of a soldierly attitude and finally to his taking on a militarist discipline and dress style, he is essentially the Cyberpunk ϟ ϟ. Important to note is that Neo is still inside the Matrix, however he is fighting. He is the personification of the “fortress within the prison” idea or an organized revolt that starts within an oppressive system and seeks to rebuild it and not just replace the top tier with its own cohorts.

See Dark City and Soldier for similarly themed stories.

Don’t stop after the “red pill” – it may start your journey as it did with Neo, but the road to freedom is far from simple. Complacence is an opium.

A note on concepts:
“Aryaniztion,” or ennoblement vs. the Jewish concept of “Eugenics”
Aryan Sanctuary: The “eu-” in “eugenics” is also found in “euthanasia”. Why is death in combat for a noble cause – surely one of the best ways to die! – not euthanasia? For the same reason, Aryanization is not eugenics. If you look up the etymology of “euthanasia” in older dictionaries published when standards of literacy were higher, “euthanatos” is translated as “EASY death”. The Greek “eu-” refers not to MORAL good but merely to EXPEDIENT good (this is why moral government was referred to as “aristocracy” and not “eucracy”).

A “eugenos” is a “good” race in the sense that it is an EASY race: a race that finds it easy to survive under natural selection. Hence eugenics etymologically refers to the practice of creating a race that finds it easy to survive under natural selection. This is in line with Galtonism, which begins with the premises that: 1) civilization obstructs natural selection; 2) eugenics means artificially exerting selective pressure similar to that which natural selection would have generated in absence of civilization.

Aryans find it generally DIFFICULT to survive as a race under natural selection, due to our lack of self-interest. Therefore Aryans are absolutely not a “eugenos”, and Aryan blood would in fact be eliminated by eugenics. In contrast, Jewish blood would be favoured by eugenics.

“The Jew offers the most striking contrast to the Aryan. There is probably no other people in the world who have so developed the instinct of self-preservation as the so-called ‘chosen’ people. The best proof of this statement is found in the simple fact that this race still exists.” ~Adolf Hitler

If any race is a “eugenos”, it would be Jews. That’s why they call themselves “chosen”: natural selection (ie. Yahweh) chooses them every time. This is also why early 20th century Jews supported eugenics: because they were confident that eugenic policies would racially favour Jews (who have higher average IQ than non-Jews, and would be capable of better average performance than non-Jews in any Galtonist test). Consistent with this, many Galtonists were admirers of Jewry, considering Jewish racial history to have been eugenic for Jewish blood, such as by raising their average IQ (I agree with this). Hence Zionism, not Aryanism, is a eugenic movement. Aryanism, which is anti-Zionist, is necessarily anti-eugenic also.

Full discussion on Aryanism.net blog

Further Information:
Aryanism & Demographics
Aryanism & Technology
Agrarianism
Aryanism & Economics
The Role of Private Property in the Nazi Economy & German Economic Policy – Countering the false conflation of the Third Reich’s economy with that of the Soviet Union. Files in viewable or downloadable PDF format.
^

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Humor Nazis – 10

The first video episode!

Episode #10: eLIE wiesel

You can’t spell “Elie” without “lie.”

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Triumph of the Will: Kampf & Folkism in Action

One of the best glimpses into the ideas at the core of National Socialism is Leni Riefenstahl’s revolutionary film, Triumph of the Will. In fact, just by watching the film, one can see many mainstream lies about Hitler and the NSDAP debunked right before their very eyes. This is likely the main reason why the film is made to be hard to access. It also contains Hitler and many other National Socialists in their own words, no footnotes, slyly guided text or other elaborate sophistry that has otherwise pervaded all official information on this subject.

Riefenstahl the Documentarian and Artist
The first and most important fact about this film is that it is both a documentary and art. Leni Riefenstahl and her crew were involved in the planning and overall coordination of the 1934 NSDAP rally, though this was mostly so that they could plan the complex camera moves amidst the multitude of events. The result is a film essentially transcendent of any conventional category. Riefenstahl guided the camera to be a participant in the events, a reporter on them as well as a near omniscient observer that offers the film’s most interesting points of view. Together, these three motifs, with the third being the strongest in this regard, elevate the film far above mere reporting on the events and into the realm of the immortal. The results are as enthralling as they were when the film was first shown.

This is a film against time.

The overall theme for the film is Kampf and Folkism in action. The city of Nuremberg becomes a microcosm for a united Reich that has triumphed over its chaotic and corrupt predecessor, the Weimar Republic. In the opening sequence, there is a message of hope for a Germany no longer obliged to feel the shame that was thrust upon it and from amidst the now parting clouds, Hitler arrives at Nuremberg as a version of the Horst Wessel Song plays. Down in the streets, people from the city are already coming out to greet the Führer. When the plane lands we see that it’s the people of Nuremberg as well as all those who came from other corners of the country for the event, citizens and soldiers. Nuremberg is now the Reich, and the parades and the marching, the formations and uniforms are a victory over the decadence that had sprawled and engorged itself during the previous decade. Hitler’s speeches then show that this new order has purpose: to fill the vacuum of leadership so that the people can once again be part of a greater structure that allows them to work for the benefit of their fellow citizens and country that is no more a mere nation state or name on the shadow banking industry’s client list. It’s a free and prosperous realm where citizenship is earned and productive labor and public service are the path to it for those born within the realm’s borders as well as those not.

Triumph of the Will_2

Riefenstahl and her crew used film making techniques revolutionary for their time to document the 1934 NSDAP party rally – aerial shots, dissolves, wipes (also in conjunction with pans), fades, symmetrical shots, music on cue and all integrated with each other – to craft a living and breathing work of film art that’s skillfully captured and masterfully edited. The grand patchwork of the various shots and film techniques employed are symbolic of the Folk itself as all cooperate for the common and even greater good. Triumph of the Will is a timeless artistic expression of Idealism and the Folk idea for future generations. The film’s production itself was revolutionary as its leader and visionary was a woman at a time when Western film was male dominated purely out of traditionalist gender roles, and largely still is to this day. Thus, the film’s mere existence is an example of transcendence, and this is only force multiplied by its content.

“Posts are awarded only with regard to talent, not in virtue of titles that are often no more than valueless pieces of paper… Priority for talent, that’s the only rule I know!” ~Adolf Hitler, Table Talk

Hitler the Leader and Radical
In today’s Zionist Correct sphere of debate, both liberals and conservatives very frequently try to liken their political opponents to “the Nazis.” This emotion-stirring and divisive accusation is meant to keep very lively debate within a limited sphere that misses the point of what Hitler did with German society and politics. Instead of the countless divisions and endless futile discussion fomented by parliamentary systems, Hitler went to the root of the German populace. He went to the one place where all citizens were the same in their national identity and ultimate aspirations, and with this he ultimately encouraged the formation of the Folk, the radical alternative to the previous foppery.

Triumph of the Will_1A

The sequence that best demonstrates this is the start of the second day of events in Nuremberg and at the NSDAP rally. The sun rises to bring a new day as the city’s people awake. Apartment shutters open revealing the historic city that is now taking a new direction as can be seen in the Swastika flags that are draped from certain buildings. These flags, seen through windows, are juxtaposed in the film’s edit with plants on windowsills signifying newly planted life. Then we see a montage of the city and a fade from the cathedral towers to the tents of the SA and SS encampment near newly built stadium where activity has also started. This fade from an old religious building to the troops of the new order draws a spiritual connection, as the NSDAP’s goals were never just political and were also more than just social.

Amidst the tents, the morning drumbeat begins, as the troops get ready. Boots are polished, faces are washed and shaved, hair is combed, and fellow troopers wash each other’s backs. Lastly, the uniforms come on and before it’s time for the morning meal. The troopers receive soup from large vats. The communal soup meal, “Eintopf” in German or “one pot,” was a favorite meal of Hitler’s as it perfectly reflected the Aryan community spirit. There is no dialog in this sequence, just a joyous music, which includes human voices, as both music and a Folk spirit can create happiness all by themselves and even more so when they are in cooperation. The result in this sequence is a true harmony of sound and image, and of two mediums, film and music. Included in this sequence are also children and farmers, which where held in highest regard by Hitler and he is seen greeting them personally.

Triumph of the Will_5

The scene that demonstrates the core and axis of the Folk idea is the “Kamerad, where are you from?” scene. For much of its history, Germany was a realm of many competing territories that were loosely bound by a general culture and language. After a long series of ups and downs culminating in the rotten morass of the Weimar Republic, Hitler inspired the varied German citizens to stand together and overcome their previous qualms and/or indifference towards each other. Now the Reich’s citizens stand together as is symbolically demonstrated at the Nuremberg Stadium with uniformed Reich Labor Service workmen in formation. The leader of the formation asks one member, “Kamerad, where are you from?” and he uses the informal you, “du” in German, to sow a spirit of closeness and cooperation. The first member answers, then another and another, each in their regional accent.

“From Friesland, from Bavaria, from Kaiserstuhl, from Pomerania, from Königsberg, from Silesia, from the coast, from the Black Forest, from Dresden, from the Danube, from the Rhine, and from the Saar.”

Cities and regions are now all joined into the German Folk: “One people, one Leader, one Reich, one Germany.” Each section of this last bit of dialog is placed with its own onscreen image: the RLS workmen, Hitler, the Reich Eagle, and the Swastika flag. This is very telling, as at the time of the film’s production these were all new elements and symbols introduced by Hitler and the NSDAP. Hitler inspired the citizens of Germany to look at their roots and see that the best thing that they can do, despite their differences, is cooperate and build a new and common future from their varied pasts and using their various talents.

Hitler’s speeches in the film are powerful and passionate. While some other NSDAP members speak from a podium inside a large hall, Hitler speaks outside in the sunlight from a large stone post to a massive formation of uniformed workmen. The speech starts calm and steady, and by the end the entire stadium resonates with that titan voice exemplifying unparalleled dedication to a cause and an unmatched charisma. Hitler wears his Chancellor’s uniform and it’s in perfect form down to the smallest crease, as he is a leader that never expects from his people what he hasn’t already done himself. In the Nuremberg stadium, the microcosm of the Reich, both Citizen and Leader stand in impeccable form. Previously, outside in the city of Nuremberg during his arrival, Hitler too stood with that same ideal posture as he greeted the gleeful city residents who had come out to see him. Thus, we can see that Hitler holds himself to a much higher standard of self-discipline than he expects from his people, the same as Jesus, Mohammed and Siddhartha did in times past. The scene ends with a cross fade between Hitler and marching members of the Reich Labor Service showing a leadership symbiotic with its citizens.

The next day, day three, we see perhaps the most vital element of the new German folk and it is with this that Hitler guided Germany out of the false dichotomy of conservatism and liberalism, of capitalism and communism, of traditionalism and progressivism. On this day, the NSDAP shows its appreciation for the youth of Germany, and in particular the next generation that will grow up on the new social model of the Folk and not in the traditional family clan/tribal-based system. Hitler’s key words here are the ones that start the core of his speech.

“We want to see no more class divisions. You must not let this grow up amongst you.” ~Adolf Hitler, Triumph of the Will

Hitler was well aware of the kleptocratic and oligarchic systems that had gripped and suffocated much of the world, and he was also keenly aware of the barbaric Bolshevik reaction in Russia that soon spread to other parts of that world and was financed by the shadow oligarchs of capitalism. If Hitler’s goal had been mere survival, he would have found a comfortable place for Germany within this violently expanding bi-polar system, however he chose to defy it and this meant making sure that the next German generation sees something else and something much more profound. Thus, Hitler stressed the country’s self-reliance, the class cooperation of its citizens, the diligence to shun material excess, and the will to keep them all going. To some it up into one word: militarism, or organized function with purpose.

A brief spectacle follows including formations of horse riders and armored cars, showing a progression of technology. It is a lighthearted example of what Hitler was talking about earlier. In the next scene, a massive march of all rally attendees with flags to a podium under a huge illuminated eagle banner from which Hitler, once again, speaks. The NSDAP revolution was not to create a newer and better state order, it was to transcend the old nation state and replace it with something better. And this is not something that can be understood by those locked in the nation state mentality. Clearly, Hitler is speaking of things other than just economic growth, national interest and human rights, which are some favorite terms of the capitalist-communist dichotomy. And it’s established fact that National Socialist Germany created things that it’s parliamentarian predecessor had no hope of doing, such as ending class strife benevolently by sowing the seeds of cooperation amongst good citizens and residents, ending unemployment, building critical infrastructure, promoting drug free living, and more.

The next and final day of the rally, we see the most famous outdoor scene with the epic symmetrical aerial shot of the stadium in full attendance. Hitler proclaims the unity and integrity of the National Socialist movement despite rumors that have been spun to the contrary. A parade begins in the Nuremberg Stadium, which was a building designed by Albert Speer as an example of NS architecture, and then it goes out into the streets for all to see. From Hitler’s regular public speeches, to NSDAP commissioned art and architecture, to publically promoted events such as the Bayreuth Festival, the message of National Socialism is always outward and Folk oriented. There is no secretive Politburo (Communist oligarchs) meeting behind closed doors or bank/financial elites (Capitalist oligarchs) meeting at a posh private resort. In National Socialism, there is Kampf and Folkism, and here we see it in action.

The Impact of the Film
The single biggest lie that a viewing of this film can dismantle is the Zionist peddled notion that National Socialism is hateful or in some other way(s) negative. Upon viewing the film, one can see that the German National Socialists are in no meaningful way like current neo-Nazi groups, which the Zionist Correct media never fails to underscore as current representatives of National Socialism, yet the only similarity is a purely superficial one: use of same and similar symbols. While the core of National Socialism, meaning its revolutionary rhetoric, its transcendence of false dichotomies, its powerful drive to reform a nation into a Folk and the rigor and discipline with which it proceeded are all missing from those most vocally indicated as “followers of National Socialism” today. Ergo, by seeing this film, you can see that the mainstream media and academia are lying about Hitler and the NSDAP.

Another big lie that a viewing of this film can unravel is the Zionist force-fed notion that “the Nazis” were obsessed with Jews, whether it was to ostracize them, steal from them, expel them, or kill them. The mainstream makes it seem as if that’s all Hitler ever wanted, yet all that is just another example of Jewish arrogance that insists on putting itself at the center of attention and asserts that all those who criticize Jews and stand against their methods are hateful or in some other way(s) negative. Upon viewing the film, one can see that neither Hitler nor any of the other speakers even once mention Jewry, as it was never their intention to be obsessed with the scourge of their fellow citizens. On the contrary, the NSDAP leadership’s intentions were positivism and improvement, and this meant a focus on the citizens and workers of Germany; on their working conditions, their ability to fairly earn a livelihood, their ability to utilize their talents, and their ability to use their hard earned livelihood on healthy leisure.

A famous positive reference to Triumph of the Will, though one that’s not entirely obvious due to Triumph of the Will’s limited availability, can be seen at the end of Star Wars. The reference appears as the victorious rebellion’s soldiers stand in formation and the heroes march down the center to receive accolades. The framing here is taken directly from the scenes in Triumph of the Will that take place in the concert hall where the NSDAP Rally is formally opened and where it’s closed, meaning both Triumph of the Will and Star Wars end on the same visual cue. Additionally, the theme of overcoming of an oppressive empire is also relevant, as Hitler rebelled against the shadow financiers that hold nations by puppet strings. The superficial aspects of Star Wars appear to be anti-authoritarian, yet the deeper aspects are anti-British Imperialism and it is out of the British Empire that shadow finance dominated by the Jewish Rothschild clan emerged. For one, all Imperial Officers speak with British accents, but none of the rebels do. Second, the logo of the Galactic Empire is a six-pointed icon just like the symbol of Zionism. Perhaps, it’s no surprise that Star Wars creator George Lucas largely works outside of Jewish-dominated Hollywood.

Clips of Triumph of the Will were also famously inserted into Stanley Kubrick’s A Clockwork Orange, where a victim of a conditioning experiment is being psychologically and physiologically programmed to feel an overbearing sickness that is to accompany, and thus curb, his propensity for violence and perversion. The scene ends up playing out like a Zionist fantasy as the man is literally programmed against National Socialism, yet this man had shown no previous interest or emulation of anything National Socialist. And on top of that, the staff assume, since he was a violent man that he must in someway be interested in National Socialism! Ironically, the “doctor” in the scene has a Jewish and/or Soviet sounding name, Brodsky, and Jewish phenotypes abound in facility staff. Kubrick, himself a Jew, had no concept of healthy racialism, and also seemed to be conflicted about Zionism, and thus along with his inability to see past “the evil Nazis,” he was led to make this odd and telling scene about how National Socialism is presented: it’s presented inaccurately and in a way to intentionally churn disgust, since the broadcasters are all Jews or other Zionists just like the staff in the secretive medical facility! It’s practically an unintentional satire on the Zionist-dominated media.

Charlie Chaplin also saw Triumph of the Will when it was shown in the United States at the Guggenheim Museum in New York City. Reportedly, he found the film hilarious and the experience led him to make his Hitler-mockery, The Great Dictator. Unwillingly, Chaplin did his part in proving Arthur Schopenhauer’s famous adage: “All truth passes through three stages. First, it is ridiculed. Second, it is violently opposed. Third, it is accepted as being self-evident.”

The Progression of National Socialism
National Socialism was a great endeavor that Hitler himself admitted would only bare its best fruit some 25 or even 50 years after its initial implementation. It was a complete change in society and deeply rooted processes such as social norms and economics can take a generation’s time to change. This was the reason for Hitler holding youth in such high regard, as they were the idealists who would ultimately build the new order, while Hitler and the Old Guard NSDAP would just identify and assemble the initial building blocks. Also, in his time, and with the end goal in sight, Hitler made many strategic concessions to the conventional political spectrum and Riefenstahl’s film shows a few of these.

In the communal soup scene we also see some sausages. Hitler, a dedicated vegetarian (without the later established diet-related gradients, he was technically a vegan by today’s standards), would have shunned sausage, however cultural conservatives would have balked. Thus, in the early stages of being in power for just over a year, a nod to Nuremberg traditions was made. Nuremberg sausage remains popular to this day. However, the sausage is just given the “one shot” or included in one camera angle for a few seconds and then pretty much forgotten. The scene focuses heavily on the communal soup meal, including a shot of a cook tasting the soup to great satisfaction. The contents of the soup is not focused on at all, thus the soup may as well be a vegetarian one.

Some old Reich soldiers, the Weimar Era conservatives, were included in a shot and are mentioned at the rally’s opening, as is the late president Paul Hindenburg. The one shot is given here too as the whole of the rally then focuses on the new Reich Labor Servicemen, the SA and SS, and, of course, on the Hitler Youth, which were all NSDAP organized institutions. Old Reich flags and old model Stahlhelms can also be seen. The German Empire flag was phased out in 1935 in favor of the new Swastika Flag and that was the year the now iconic Stahlhelm model was introduced.

Thus, even by the film’s release, National Socialism had bore some new fruit.

When it comes to semantics, Hitler also says one particular thing that he would later go on to reconsider and reword. When speaking to the Hitler Youth, he speaks of obedience, “Gehorsam” in German, though later he mentions to the SA and the SS the much more important quality of loyalty, “Treue,” and it was this word that made it into the NS glossary. It was most famously seen as part of the SS motto, “Meine Ehre heisst Treue,” or “My Honor is Loyalty.” Obedience is related traditionalism and submissiveness, two traits that feature heavily in the lives of Tanakh adherents, being Jews, Judeo-Christians, and Traditionalist Islamists. Confucian Traditionalism also heavily banks on obedience. Loyalty, on the other hand, is motivated by conscience and can thus be readily applied to notions such as duty, which factor prominently into militarism as well as the original teachings of Jesus, Mohammed and Siddhartha.

Conclusion
Triumph of the Will remains one the most revolutionary films ever made in both technique and content. Hitler’s speeches in the Nuremberg stadium during this NSDAP rally were spectacular, however he still managed surpass them during his Olympic opening address in 1936, which the first time that a human voice could be heard from space. No leader in the modern human era has shown such ascetic dedication to his duty and certainly no leader has been so charismatic.

Triumph of the Will is also far superior in every aspect from the Marxist screed, Battleship Potemkin, directed by the Jew Sergei Eisenstein and shown in film history classes worldwide. Eisenstein’s film is permeated by a characteristically Jewish defamation and demonization of an ideological and political enemy, the Czar, and it is this negativity that ultimately brings down the film. However, Eisenstein’s film shouldn’t be avoided, it should be watched and right before or after there should be a viewing of Triumph of the Will to plainly see the higher quality and innate positivism of Riefenstahl’s National Socialist film art masterpiece.

“May the bright flame of our enthusiasm never be extinguished. It alone gives the creative art of modern political propaganda its light and warmth.” ~Joseph Goebbels, Triumph of the Will

Triumph of the Will on YouTube:
Version 1 – with comments disabled on Blood&Iron’s channel.
Version 2 – with comments enabled on Nuclear Vault’s channel. This version also has sharper contrast and a different aspect ratio.

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Humor Nazis – 9

Episode #9: HO£A¢O$T€™

ELIE WIESEL CONS THE WORLD

Pinocchio says Holocaust

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Anti-Zionist Graphics

All anti-Zionists, especially Aryanists, distribute!

Enough Zionist symbols for now, let’s end with something positive.

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