The paperback copies of Trevor Lynch’s White Nationalist Guide to the Movies arrived here Wednesday, and we are now shipping them out. The hardcovers take a little longer to print, but they will be here soon. Let us know if you want your copy signed. Order your copy today!
Trevor Lynch provides us with a highly literate, insightful, and even philosophical perspective on film—one that will send you running to the video rental store for a look at some very worthwhile movies—although he is also quite willing to tell you what not to see, e.g.: “No white person should pay a nickel to see [The Girl with the Dragon Tattoo].” He sees movies without the usual blinders. He is quite aware that because Hollywood is controlled by Jews, one must typically analyze movies for their propaganda value in the project of white dispossession.
His review of The Matrix Reloaded is a great example of calling attention to the anti-white animus that pervades Hollywood now: “Looking at a movie like this, you would almost believe that White civilization could not have been created without the contributions of blacks, browns, yellows, Jews,” etc.
Naturally, in such an environment, one must expect that supervillains will be Nazis or obvious Aryans, or at least they won’t look Jewish or have Jewish names. On the other hand, “superheroes tend to function as symbolic proxies for Jews”—fighting for the values of egalitarian, anti-racialist universalism that have come to define the values of the Jewish Diaspora in the West (but are anathema to Jews in Israel).
However, from my reading of this collection of essays, Stieg Larsson’s Millennium Trilogy movies would seem to be pretty much the worst sort of media imaginable, creating an upside-down world of a contemporary Sweden filled with native Swedish rapists and highly placed Nazis. Larsson has completely internalized a Jewish mindset to the point that in his fiction Jewish lives are more important than non-Jewish lives. “In Guillaume Faye’s terms, [people like Larsson] are textbook ethnomasochists and xenophiles. They would prefer their own people to be murdered rather than Jews (Jews above all) and assorted totemic ‘others.’ Sick, sick people.”
The fact that writers like Larsson have a wide following and are able to have their work made into popular movies is a telling testimony to our time.
However, despite Hollywood’s pervasive hatred of whites and our culture, a precious few movies do speak to our ideals and hopes for a return to an explicit sense of white consciousness and destiny. The Lord of the Rings trilogy is certainly in this category because of its message—so resonant today—of saving the people and culture of the West from dark hordes led by evil schemers with names like Sauron that sound alien to the European spirit and, to my ears at least, even have Semitic overtones.
Lynch also notes that many other movies have powerful messages that are dangerous to the status quo, but they appear “only in the mouths of monsters”—such as the Joker in Christopher Nolan’s The Dark Knight. The Joker is a Nietzschean Übermensch: unafraid of death, he cares nothing for money, and he has no respect for society’s rules—indeed, no moral compunctions at all. Such a monster is dangerous to the contemporary Western Zeitgeist which depends most of all on a strong sense of moral universalism and the value of all life, even when it means the suicide of the West. Moral principles trump even survival as a culture and a people. Such a moral universalism is antithetical to the particularist imperative of white survival.
Unfortunately, the Joker cares nothing for his people and culture: he is the epitome of radical and even pathological individualism. But a cadre of people who are committed to Western survival, who are unafraid of death, uninterested in the easily available decadent pleasures of the contemporary world, and without the moral scruples of egalitarian universalism would be dangerous indeed to the current Zeitgeist. Of course, this would require a sense of moral commitment to the culture and people of the West—including the many whites who have been corrupted or are wanting in other ways—that is quite foreign to the Joker.
But the best example of wisdom from the mouths of monsters is Bill the Butcher from Martin Scorsese’s Gangs of New York, who states what is unthinkable in today’s America, committed as it is to White displacement—that “America is an organic community, a community of blood: a community purchased by the blood of its founders to safeguard the blood of their posterity. . . . [Bill the Butcher] sees that Lincoln’s artificial ‘Union’ devoted to the ‘proposition’ of equality is the mortal enemy of an organic community based on blood.” I imagine that more than a few whites in the audience agreed with those sentiments.
Lynch shows that even the most popular fare may have implicit messages that conflict with the general anti-white narrative of Hollywood, if only because Hollywood sees these films as a way of making money. For example, the first Twilight movie paints a picture of an implicitly white world that accentuates the beauty of white people. And I was surprised to find that there are still vestiges of popular culture that celebrate traditional sexual values: “The Twilight Saga is an explicit defense of virginity followed by marriage and motherhood and an explicit rejection of pre-marital sex and sexual promiscuity.” And there is the message that “manliness is a good thing: women are attracted to primal strength and aggression.”
Another example is A History of Violence, which upholds the value of masculine men who are willing to form families but also willing and able to fight for the protection of the family and for civilization itself—an image that is all too rare in an age where gangsta rap stars are far more likely to be promoted by Hollywood as appropriate role models for young males.
There is much else here—philosophical thoughts on hedonism, post-modernism, decadence, aesthetics, honor and pride versus self-preservation and money, cultural integrity versus multiculturalism—all framed within a pro-white worldview. Trevor Lynch’s collection is a must read for anyone attempting to understand the deep undercurrents of the contemporary culture of the West.
November 28, 2012