Wednesday, January 10, 2018

Andrea Ostrov Letania: Neo-Fascist Consideration of MURIEL(by Alain Resnais & Jean Cayrol) and ATLANTIC CITY(by Louis Malle & John Guare) — and some notes on THE EXORCIST by William Friedkin and William Blatty. Part 3.



















Continued from Part 2 of the Blogpost: http://ostrovletania.blogspot.com/2016/04/andrea-ostrov-letania-neo-fascist.html

For Part 1, Click Here.

Anyway, ATLANTIC CITY makes for useful comparison with MURIEL because both deal with themes of deception and, more crucially, self-deception. And however the story may have originated from John Guare’s pen, it was sealed with Louis Malle’s indelible Franco-centric stamp. While watching the mature male character in MURIEL, I was reminded of Burt Lancaster’s character in Malle’s film whose entire life has revolved around a lie, indeed so much that even his personal resolution comes by way of confronting the myth on its own terms; he doesn’t so much reject it as ‘fulfill’ it.
Everyone is marked by history differently(especially during the formative years of youth), and nothing seems to have affected Malle more deeply than what happened during the German Occupation of France. (If not for that small but significant moment, the Occupation may have passed by like the wartime for John Boorman as depicted in HOPE AND GLORY: eventful but not unpleasant. Especially as the his family was wealthy and connected, Malle avoided the deprivations of war.) Francois Truffaut was of the same age as Malle, but his films don’t leave the impression, direct or indirect, that the German Occupation meant much to him. Even his film LAST METRO, which is set during the Occupation, is rather staid and complacent, with little hint that the period left any lasting mark on Truffaut, whose most crucial years were those after Liberation, when he became immersed in the dream of American movies then flooding into French theaters. In contrast, there’s a number of Malle films that allude to or deal directly with the German Occupation. There is the German tourist in ELEVATOR TO THE GALLOWS. Though the story is set in postwar Europe of friendship between France and Germany, the murder of the tourist hints at darker undercurrents. LACOMBE, LUCIEN is about a Jewish girl hiding from the Nazis during the Occupation, BLACK MOON begins in a world run amok with militarist terror, MY DINNER WITH ANDRE has a Jew yammering endlessly about how New York is under Occupation of inhuman modernity(despite the fact that New York is Jew York, which goes to show that Jews feel exiled even in Jew-town), ALAMO BAY portrays the plight of Vietnamese refugees persecuted by Texan ‘rednecks’, and, of course, his most celebrated film AU REVOIR LES ENFANTS is a semi-autobiographical remembrance involving a Jewish student seeking sanctuary in a Catholic School. If Akira Kurosawa kept drawing lessons from Japan’s trauma in WWII, if Oliver Stone reinvigorated radical themes of the 60s around war and rebellion, if Steven Spielberg often harked back to childhood idyll & fantasy of Suburbia, and if Ingmar Bergman repeatedly struggled with themes relating to trouble with his father and his youthful enchantment with National Socialist Germany, Malle could never make peace with what had happened during in his childhood during the Occupation. And it was especially a single moment that stuck to him like an immovable thorn lodged in the heart. It became all the more troubling over the years because the full or fuller implication of the moment could only be realized in later years. It festered like a wound that never healed, like the scar on Pike Bishop’s leg in THE WILD BUNCH or the cut in the abdomen of Lancelot in EXCALIBUR. And yet, it didn’t feel like a wound or a wrong in the moment. It could be passed off as a chance moment like any other. It was not like Peter who blatantly denied Jesus and three times too.
In a sense, the young Malle hadn’t done anything wrong in the technical sense. If AU REVOIR LES ENFANTS is an honest account of what really happened, the chances are that the Jew kid would have been found out one way or another, and there wasn’t anything Malle-as-kid could have done to save him. In the film, when the Nazis enter the classroom looking for the Jew kid, Julien(as alter ego of Malle) momentarily turns his head to the Jew, and the Jew stands up and is taken away. Technically, Julien didn’t finger the Jew kid or rat him out. All he did was slightly jerk his head toward him, and it was the Jew kid who then gave himself up. And yet, Malle remembered this episode as something akin to Judas giving up Jesus to the Romans — and of course, this fits into the narrative of Holocaustianity where gentiles are the Judases and Jews are the Jesuses. Even if Julien didn’t rat on the Jew kid — Jean Kippelstein — in a technical sense, perhaps he did betray the Jew kid in the matter of the heart. Based on Julien’s turning glance at Jean the Jew kid, one can read any number of motives: panic, sympathy, fear, and etc. As the two boys had become friends, those feelings were surely there. But as the Jew kid Jean academically bested Julien, who’d previously been doted upon as the best student in class, there was also an element of envy and resentment, not unlike in John Knowles’ novel A SEPARATE PEACE. Emotions of friendship equalize the relations between superior and inferior or ease the tensions between superior vs superior, and so, any sign of differences betrays the spirit of camaraderie between friends. Julien admired and sympathized with the Jew kid and was glad to be friends with him — not least because he could have more interesting conversations with him — , but he couldn’t help sensing that the Jew kid was better than him, at least in intellect and perhaps in soul, and that mattered in France that took great pride in ideas and scholarship.
Au Revoir Les Enfants
Perhaps, it mattered more to Malle since he was born to a rich family. Truffaut was born into a modest family with nothing of pride or prestige to uphold. He later found out that his mother had planned to abort him, had problems of delinquency in his youth, and lost himself in the escapism of cinema. Despite his intellectual aspirations under the tutelage of Andre Bazin, Truffaut was really defined by excitement and sentiment, and in a way, he had something in common with Spielberg, which perhaps explains their chemistry in CLOSE ENCOUNTERS OF THE THIRD KIND. (Truffaut shared in the excitement of greeting Space Aliens. Jean-Luc Godard, in contrast, became like a creature from another planet.) Malle, in contrast, was born into wealth & privilege and attended excellent schools, and he was praised for his smarts. So, it must have really stung when a fugitive Jew kid holed up in his school turned out to be smarter and more cultured. He was creme de la creme whose ‘genius’ was recognized by fellow students, but a single Jew comes along and out-performs him. (It’d be like a white kid who’s the best athlete in school being knocked off his perch by the arrival of a Negro kid. He could become friends with the Negro kid as a fellow athlete, but he will likely resent having to play second fiddle to the Negro who wins top trophies and humps the best-looking white girls. He might develop genuine friendship with the Negro, who could be a nice guy, but a part of him will always wish the Negro would go away.) Of course, Jews are extremely competitive too, and they will go to any length to knock out the competition — even starve 100,000s of women and children in Iraq for the sake of Israel — , and Jews don’t care about the damage they cause because they lack conscience toward goyim. In contrast, Christianity planted the seeds of self-doubt and self-recrimination in the hearts of white Europeans, and in the postwar era, this would lead to the cult of western guilt for the suffering of Jews.(Incidentally, Christianity doesn’t necessarily instill guilt, atonement, and self-abnegation in all peoples. If anything, it can make a people feel righteous and justified in their violence. More crucial than any ideology is who-gets-to-steer-the-ideology because any credo can be redirected to be for or against anything. Take communism. It could be steered to serve Russia against China or to serve China against Russia. It could be steered by Stalin against Trotsky or by Trotsky against Stalin. The result can be credo to birth or credo to grave. It is human wit & agency that controls the crosshair of any ideological firearm. Most Negroes in America are Christian, but did Christianity make Negroes humble, self-critical, introspective, and contemplative of their sinful natures? Once upon a time, yes, when whites controlled the Narrative and instilled blacks with ‘savage shame’ that motivated them to better themselves and be a credit to their race. But since the Narrative Shift that made MLK and Civil Rights the paragons of virtue while burdening European-Americans with ‘white guilt’, Christianity has made Negroes feel uppity, self-righteous, and nasty. Today, Negro Christians just want to howl and shake their booties, act like they’re utterly blameless and holier-than-thou, sermonize as a race of saints who can never do no wrong. Cultural factors notwithstanding, Western self-doubt and guilt may have something to do with the genetics roots of European personality. After all, there are few blacks who are like Ken Burns or Bill Moyers. Americans of Northern European stock tend to be sober, serious, well-meaning, earnest, straight, and conscientious. In contrast, blacks are psychopathic, self-centered, self-promoting, and slick. For blacks, Christianity means other races should feel sorry for blacks, apologize to blacks, get down on their knees and pray to blacks, or worship blacks. It doesn’t mean that blacks themselves should examine their own failings and atone for anything. Part of the reason is surely that blacks did suffer racial oppression and discrimination in America, but that alone fails to address the deeper problem. After all, Poles never did anything to blacks, but even Polish-Americans can be made to feel ‘white guilt’ whereas even blacks who attack & harm innocent people never seem to give a damn, even as they profess to be good Christians. Of course, through most of European history, most whites felt justified than burdened by Christianity — at least when dealing with Jews, heathens, or non-whites — , but there has been in the European tradition of Christianity an element of self-loathing and self-purging. But Christian Guilt didn’t prostrate itself before Jews, so why did Christians go from harshly judging Jews to humbly groveling before Jews? The answer lies less in the nature of Christianity per se than in who gained control of the terms of Christian Guilt. When Christian Europe was ruled by Christian elites, most Christians were instructed to kneel before God and Jesus and atone before them. There was nothing about feeling sorry for Jews regardless of what was done to them since Christians were informed that Jews were the killers of Christ and sinful dealers of usury. Thus, the element of guilt in Christianity was directed toward God and Jesus. But after WWII, the tone of European Christianity followed in the footsteps of secular ideologies that favored Jews as objects of guilt. With Jews and leftists in control of the media, academia, and culture — and given the unspeakable nature of the Shoah — , this shift in Christian guilt would have a profound impact on Christianity itself. [In some ways, Christians sought to outdo even secular Philosemitism in atonement to prove their moral worth. The moral inferior feels compelled to prove its worth to moral superior. Inferior always seeks approval of the superior. As the superior sets the template of what is true-and-proper, the inferior plays by those rules even as they undermine the inferior’s agency & autonomy even more. The inferior, so eager for approval from the superior, is even willing to lose power for prestige. As power of religion began to fade rapidly after WWII and as Jews & secular left gained tremendous pride in the defeat of Nazism and Fascism, the Church felt the only way to keep or reclaim its good name was by winning the approval of secular powers that occupied the superior position of moral authority. This made the once pro-white Churches increasingly servile to Jews and sensitive to non-white issues. As the secular notion of ‘racism’ became the worst of all possible sins, the Church bent over backwards to dispel any lingering notions of ‘racism’ in the Church. And of late, the increasingly irrelevant churches play by the rules of homomaniacal moral ‘superiors’. How did homos become the moral mavens of the West? Jews control the Narrative & Values and vaunted homos to high holiness, and once again, the churches with moral inferiority complex seek to prove their worth by playing by the rules set by the moral ‘superiors’ of Jews and Homos, along with Negroes. Today, the American church is mostly about worshiping Holy Holocaust, Magic Negroes, and Glory Gays.] Though European Christians and American white Christians had, long before WWII, felt some degree of guilt for the wrongs done to other nations, peoples, and races, their noble attempts to redress the problems made them feel even prouder as Christians. Also, even though white Christians could be appalled by things like the slave trade and the sale of opium to the Chinese, they nevertheless believed that the white world was infinitely superior culturally, spiritually, intellectually, and morally than the non-white world. In other words, slavery and slave trade must be ended, but that didn’t mean black Africans were inherently good people. And the need to end the Opium Trade didn’t meant Chinese were saints. If anything, they were heathens needing to be saved and baptized through the words of the Lord Jesus Christ. But, with the rise of modern anthropology that romanticized indigenous native peoples of the world as Edenic & peaceful and with notion that non-white cultures were just as special and wonderful in their own way as the Western World, it became unfashionable for white people to feel that they were superior to non-whites in any way, not even culturally. Thus, if in the past, white guilt for wrongs done to non-whites had been counterbalanced by white pride of bringing progress and civilization to savage, barbarian, or feudalistic peoples around the world, in the new progressive era after WWII there was only the guilt and no pride. [Whites could feel pride only by denouncing anything white in the shrillest manner.] In an earlier era, whites could feel sorry about slavery but also take pride in having ended slavery. But in the new era, they could only feel sorry for slavery and feel no pride whatsoever. And since Jews came to dominate the media and academia in America — and since American universities and media empires influenced their counterparts all over the world — , they got to reconfigure the guilt dynamics of Christianity. Thus, if whites in the past experienced Christian guilt mainly by atoning for the killing of Jesus — Jews may have done it, but gentiles, especially the Romans, took part in it — and confessing daily transgressions[like the studio boss in HAIL CAESAR who confesses his failure to quit smoking while overlooking his more egregious ‘sins’ as businessman and fixer], the new Christian guilt was about total prostration before Jews and blacks and finally homos too. Thus, if in the past, a Christian homo would apologize to God for harboring filthy homo impulses, today we have homos as heavenly angels while those who’d opposed ‘gay marriage’ in the past are groveling before god for having once harbored evil ‘homophobia’ in their hearts. So, there is Christianity as core creed and christianities as fashionable games of power. The element of guilt is a crucial component in Christianity, but different christianities will lead their adherents to feel guilty for different things, and of course, most people are sheeple who must be told what to feel and think. Thus, their sense of guilt is directed by the forces that control the institutions. Mainline Protestant churches in America have been infiltrated by the PC agents, and their current message is that God and Jesus love Jews, Negroes, illegal aliens, and homos more than white Americans; therefore, if you want to be a good white American with the right kind of guilt, you must do everything to undermine the power and interests of your own people for the aggrandizement of the aforementioned ‘victim groups’ favored by God and Jesus. Thus, a Negro rapist and thug need feel no guilt. A homo who sticks his penis into the fecal holes of other men need feel no guilt. Jews feel no guilt in rejecting Jesus as the Son of God, in having ethnically cleansed the Palestinians, in having played a prominent role in communism, in having instigated all these Wars for Israel, in controlling gambling to rob people blind, and etc. And illegal aliens need feel no guilt for having violated the laws of other nations for material self-interest. [If indeed illegal aliens are such spiritually pure souls, why did they move to a richer nation for material improvement? Surely, they can pray to God just as easily back home. And they could be using their skills and talent to help the poorer folks back home than work for richer gringos in America.] All such peoples are deemed as innocent as lambs, and evil lurks only in the hearts of white gentiles, therefore the burden of guilt falls entirely on the straight white community. Such is the thinking of Garpian Mainline churches, the evolution of which to the current status is regarded by some as logical and inevitable, but continuing existence and health of Orthodox churches belie such claim. [Garpian mainline churches are utterly disgraceful, even more so than Gumpian Evangelical churches. If one has truly lost faith, one should just let it go. But Garpian Mainline observers want the comfort of form without content. Their church is like a seashell without the life inside. So, the hollow shell is stuffed with fakery like homomania.] If powers-that-be in another part of the world define the terms of Christian Guilt in their own way, their practice of Christianity will be fundamentally different. In Russia, the Pussy Riot’s desecration of the Holy Church was deemed shameful and guilty. In the inverted world of Jewish-controlled America, the likes of the Pussy Riot feel pride and glory than shame and guilt that is reserved for Christians who won’t bend over to homomania. In Russia, shame and guilt fall on the ‘gay pride’ community despite its protestations as moral arbiters according to the gospel of Jew-run globalism wherein homos are second only to Jews in holiness. In Russia, to be Christian means to be proud of one’s tradition and to love of one’s nation and culture; it means shame and guilt accrue upon those for whom ‘love’ is a matter of homo fecal penetration. But in America, Christianity has been redefined to mean absolute non-judgmental Tolerance for all kinds of Jewish obnoxiousness and subversion, black thuggery and criminality, feminist bitchiness and narcissism, homosexual degeneracy and debauchery, and illegal alien befoulment of the laws and codes of the nation. This Jewed-christianity preaches tolerance for degeneracy and intolerance for opposition to degeneracy. Why did American Christianity turn this way? Because American Christians come under the power of Jews and homos via the media, academia, business pressures, and government controls, they also turn into decadent nincompoops and go about adapting their faith to nincompoopery. Thus, American Christianity is now little more than a tool of political correctness and pop culture, and increasingly, the ‘faithful’ are led to believe that the main mission of Christianity is to conform to the Zeitgeist, which is currently controlled by Jews and homos whose misuse of Christianity is utterly foul and cynical. For one thing, Jews are not Christian, so why should they exert influence on Christianity? Jews would be offended if Christians told them what the True Meaning of Judaism or Jewishness is all about, so why should any Christian defer to Jews[and Homos] as to the true meaning of Christianity? Also, even though God and Jesus, according to the New Testament, are forgiving of sinners, it is incumbent on their willingness to repent for something like homosexual acts. Though Jesus softened the message with hope of forgiveness and redemption, He didn’t reverse or remove the spiritual heart of the Torah. Thus, while Jesus was not for stoning sinners[especially over minutiae of laws beyond the comprehension of many people], He still called for repentance as the path to redemption. Thus, while Christianity is open to homos as is to whores, both homos and whores would must make an effort to cleanse themselves of sin in the eyes of the Lord. Indeed, how can any lofty spiritual system possibly approve of a man sticking his penis into bungs of other men? Now that Jews and homos degraded Christianity to the level of ‘gay pride’ parades, much of American Christianity lost its luster for lust. And of course, most homos who claim to be Christians are just infiltrators and conspirators who move up the ranks, mug for sympathy, and steer the church toward celebrating homosexuality as the new holy. As for Jews, despite their devious attempt to burden Christianity with Holocaust guilt, there is no need whatsoever for white Christians to feel guilt for Nazi crimes. National Socialism was a neo-pagan movement, and it grew to prominence in reaction to communism, a Godless ideology cooked up by Jews who spread the virus throughout Russia, undermined the Russian war efforts in WWI, gained power through a putsch, and then instituted ruthless totalitarianism to destroy Russian Christianity, killing millions of Slavic Christians in the process. If some Christian groups made alliances with Fascists and National Socialists, it was in reaction to Jewish communist mass violence against Slavic Christians. Also, Jewish communists and anarchists who volunteered for the Spanish Civil War were only too happy to massacre tens of thousands of Catholic priests and nuns, and there were plenty of Jewish atheist communists in the US who conspired to funnel top secrets to the USSR. So, if Jews hadn’t destroyed Christianity in Russia and hadn’t attempted the same in Spain, the bond between the Catholic Church and neo-pagan fascist movements wouldn’t have formed. It was Jewish radicals who, through vile and vicious acts as communists and anarchists, pushed certain elements of European Christianity into the arms of fascist movements. For this reason, the history of the 20th century cannot be properly understood or appreciated without the role of Jewish communists in destroying and threatening the Christian order. Even though neo-paganism of Italian Fascism and National Socialism didn’t jibe with Christianity, European Christians gravitated toward radical right movements because communists had amply demonstrated what they had in store for Christianity. Anyway, while the element of guilt is essential theme in Christianity, the object of one’s guilt is determined by whomever that controls the power and narrative. If indeed universal guilt is what Christianity is about, how come feelings of guilt are absent among blacks despite their myriad acts of mayhem and violence? How come there is little guilt among illegal Mexican-in-America for having messed up their own country, breaking into another country, dealing in drugs, and leeching off the American system? How come there is no guilt among homo christians for the spread of AIDS epidemic? And if Jews claim to respect and know the true meaning of Christianity, how come they don’t repent for their crimes of communism and Nakba of Palestinians? Jews don’t partake of redemption-via-universal-guilt but only manipulate guilt among others to bring them to heel. Therefore, if you’re a Christian, it is imperative that you control the terms of your own Christianity than be dictated by people such as Jews, homos, blacks, illegal aliens, and white traitor Liberals who never operate in good faith.)
Ideology is secondary to the Power that gets to steer the ideology. It's like a gun has meaning only in relation to the gunman who sets the target. Thus, Christianity can be used to justify or vilify any side depending on who has power over the Church. Communism can be used to favor any personality or any nation against any other. Yugoslavian communism was anti-Soviet, and Soviet communism was anti-Titoist. 'Democracy' can be used to justify any side that wields the power. US invoked 'democracy' to invade and destroy Iraq. However, other democracies opposed US actions, but US had the power to override their opposition. Every ideology has its distinct set of values and priorities, but in the end, the Power gets to decide how those values and priorities are used, distorted, suppressed, or betrayed. Maoist ideology didn't prevent Mao from thawing relations with the US, a nation that had once been vilified as the biggest enemy of China. And of course, Jews play fast and loose with any ideology to their self-aggrandizement. So, Jews say American Democracy is anti-tribalist; therefore, whites mustn't think of white interests, but then... whites must go out of their way to favor Jewish tribal interests. 
Unlike Truffaut who, as a young child, sought refuge in novels and movies, Malle grew up in a world of respectability without much in the way of want, even during the Occupation years. (The fact that Truffaut was abandoned by his Jewish dentist father was surely an advantage during the German Occupation when Jewish survival became precarious. Truffaut discovered his half-Jewish identity only later.) So, the arrival of the Jewish kid at the elite school and the fact of his higher intelligence must have, on some level, rubbed the young Malle the wrong way despite the fact of their friendship reflected in AU REVOIR LES ENFANTS. Friendships naturally develop among children, especially those of comparable talents and interests, and both Julien and Jean the Jew kid are intelligent, and, as such, stand out from the rest of the class. But like in SEPARATE PEACE, envy and resentment are also always present among friends(especially those with excess ego and pride), and an hidden side of Julien(even to himself) might have surfaced in that moment of turning his head toward Jean when the Nazis were sniffing around for Jews. It appears Malle spent his entire life asking himself why he did what he did. Was it to look at his dear friend one last time before he might be taken away? Was it a flaring of a repressed resentment toward Jean, a sly impulse to rat him out? (And why did Jean yield so quickly upon Julien’s glance? Did he turn himself to spare further trouble to teachers and classmates? Or, was it possible that the Nazis would have left the classroom if Jean had remained seated? Or, did he feel especially betrayed by Julien? Even though Julien didn’t say or do anything obvious, Jean may have inferred Julien’s heart-of-hearts. Despite their friendship & affection, a part of Julien still regarded Jean as the Jew, the outsider, the usurper, and a threat. [It’s like a white guy could come to be friends with a ‘groid’ but still be relieved to see him devoured by a crocodile or stomped by a hippo because the Negro is the Ur-Danger or Eternal-Threat to the White Man.] If indeed Jean felt thus, his surrender to the Nazis was ultimately personal. It’s one thing to be hated and hunted by Nazis or collaborationist France. But to realize that one cannot trust even the heart of a close friend, that could have been the nail in the coffin. It broke Jean’s spirit. This is all, of course, speculation, but Jean’s final action in the film is a response to Julien’s stare.) The feelings of envy and resentment among children are nothing special and hardly evil, but in this case, Jean was taken away to his death, and Julien knew of Jean’s predicament even if not the full implications. How much did Julien know of the murderous Nazi plan for Jews? He surely knew of the antisemitic policies instituted under German Occupation, but did he know about the death camps? Had the fate of Jews been comparable to the fate of Japanese-Americans ‘interned’ during WWII, perhaps Malle’s misgivings about his ‘betrayal’ wouldn’t have been so painful, but then, maybe not. Consider that what happened to the Jewish leftist community in the late 40s and early 50s(HUAC-McCarthy Era) was much milder than what had been done to the Japanese-American community during WWII. Also, even though many Jews were involved in espionage for the Soviet Union, the Jewish community as a whole was not targeted, and only a small number of Jews did time in prison. Yet, Jews hyped this into one of the great crimes of the century. Indeed, according to NPR and PBS, the so-called ‘McCarthy Era’ might as well have been the darkest period of the 20th century after the Holocaust. And Elia Kazan, for having spilled the beans on his former communist colleagues, was ceaselessly hounded by the Liberal community — though the likes of Jane Fonda and Roman Polanski were lionized and defended by the Hollywood insiders. (But now that Jews hate Russia and fear good relations between white Russians and patriotic white Americans, they are going all out to denounce Russia as the worst nation, Putin as ‘new hitler’, and Donald Trump as Putin’s puppet. At least HUAC and McCarthy had valid reasons to go after communists and fellow-travelers who’d penetrated American government and institutions. In contrast, current Jewish Hysteria about Russia is pure fantasy cooked up by Jew-run media. Rabid and virulent Jewish Supremacists will go to any length to smear and slander anyone or any nation to get their own way. Good relations between Russian gentiles and American gentiles could mean both peoples waking up to the alien character of Jewish Power. So, Jews hoodwink dumb Americans into believing that improved relation with Russia is ‘treason’ whereas slavishness to Israel & Jewish globalists is what America is really about. According to this logic, American gentiles’ attempt to get the Jew off their back — like Russia did to some extent under Putin — is betrayal whereas their ‘submissivism’ to Jews is as American as Apple Pie[that was fuc*ed by the Jew kid in AMERICAN PIE]. In the Current Year, the quintessence of Americanism is servility to Jews. There’s a kind of covenant between Jews as god and white gentiles as the Chosen Fools. At least with the Jewish Covenant, God promised the People of Israel great power and wealth if they were to remain true to God. In contrast, the covenant between Jews and whites is that whites, as Chosen Fools, will be defamed and destroyed upon doing the bidding of the Jews to the letter. Jews feel nothing but contempt for such dumb people. To be sure, the white elites aren’t so dumb since they are handsomely rewarded for their treacherous service to Jews. The real dummies are white middle class and working class who wave the American Flag and pledge to kill Muslims to serve their Zionist masters.) It’s likely that Jews focused so much attention on the ‘martyrdom’ of the Hollywood Ten to divert people's attention from the fact of extensive Jewish involvement in Soviet espionage and subversion of culture. By directing our attention at ‘sainthood’ of the Hollywood Ten — also, E.L. Doctorow wrote a novel on children of the Rosenbergs, and Tony Kushner anointed Ethel Rosenberg as a saintly figure — , we lose sight of the truly important fact that Julius Rosenberg, Morton Sobell, and other Jews did spy for the Soviets and unconscionably gave away America’s most carefully guarded secret — the blueprint for the atomic bomb — to the bloody regime of Stalin that had been responsible for the deaths of millions of Christian Slavs, totalitarian occupation of Eastern Europe, and arming of Chinese communists poised to conquer all of China. It’s rather odd. During the height of the Cold War when communism was spreading tyranny around the world, a significant number of American Jews used their access in government, business, and culture to aid a powerful enemy that had its claws deep into Eastern Europe from which so many Americans had emigrated in the late 19th century and early 20th century, but almost no one remembers or cares, whereas just about every cinephile dummy repeats the mantra about the poor saintly members of the Hollywood Ten who were ‘victimized’ by HUAC and McCarthy. While it’s true that HUAC and McCarthy did overreach and resorted to a cheap and even dangerous form of demagoguery — though far milder than the paranoia during WWII that led to ludicrous panics about German submarines surrounding American shorelines & Japanese bombers attacking Iowa and the collective imprisonment of over 100,000 Japanese-Americans, most of whom were a lot more loyal to America than leftist Jews ever were — , the fact is the US government had indeed become infiltrated by communists, fellow-travelers, and double-dealing radical Zionists(who played US and USSR both to bring about the creation of Israel on what was then Palestine; indeed, it’s instructive that Jews who denied the right of Palestine to exist bitch ceaselessly about Palestinians’ refusal to recognize Israel’s right to exist; imagine Germans occupying Poland, reducing Poles to second-class citizens, declaring Poland as New Germany, and then bitching that Poles won’t recognize the right of New Germany to exist). And even though these Jews didn’t care one iota about Poles, Hungarians, Czechoslovakians, and others who’d fallen under the Iron Curtain, they pressured the US government to do everything possible to support the creation of Israel so that Jews could ethnically cleanse Palestinians and grab most of the territory for themselves. Jews bitched that Arabs attacked first when Palestine was divided in half, but surely Jews knew that Arabs had no choice but to fight back since the so-called Partition meant the end of Palestine. (How would Israeli Jews react if some foreign power let in 5 million Chinese into Israel and then declared Partition whereupon half the land would go to Chinese? Jews would surely rise up and fight.) Jews provoked the Arabs, Arabs rose up to unify Palestine, and Jews struck back(with the support of US and USSR) and drove Arabs out of nearly all of Palestine.
The manufactured brouhaha about the Hollywood Ten, a bunch of communists committed to anti-American subversion. Though defenders always framed the controversy as a civil liberties issue, they were completely mum about the violation of civil liberties of German-Americans and Japanese-in-America during WWII. And these leftists and liberals, many of whom were Jewish, used all their power to blacklist people and destroy careers based on politics, ideology, and tribal interests throughout Hollywood history. Just think. How long would anyone have lasted in Hollywood if he or she wanted to make a movie about Nakba? And just look at how Jews in media, academia, and deep state collude to cook up the most rabid hysteria about Russia and Trump to perpetuate Jewish supremacism.
The vile left-wing Jew Morton Sobell who lied and professed innocence all his life... only to finally admit near the end of his life that, yup, he'd conspired with the Rosenbergs to send US secrets to mass killer Stalin. Trust Jews at your own risk.
That is how Jews play the game. Deviously. Anyway, my hunch is that whenever Jews bitch and bleat about the holy schmoly Hollywood Ten, it is to divert our attention from the fact of Jewish espionage, Jewish subversion, and Jewish dirty deeds in the various organizations and institutions of America. So, even though the Jewish community produced an excess of radicals who compromised America’s well-being and security — as well as those of Eastern Europeans — , Jewish historiography and Narrative Monopoly would have us believe that Jews, even as commie lowlifes, were saintly victims of evil ‘paranoid’ McCarthy and HUAC crackpots. The Jewish media also sought to discredit members of HUAC for their political corruption, but if we want to play that game, there’s surely no lack of Liberal and Jewish figures tainted by political and financial scandals, indeed far more egregious than anything committed by those in HUAC.
There is a discernible pattern to the Narrative of Jewish victimology. No matter what happened, Jews spin it so that their ilk are the hapless and innocent victims, the poor little lambs set upon by wolves. Jews had been deeply involved in Soviet communism and its mass killings, yet most of Jewish historiography overlooks all that and focuses mainly on Jewish victimization at the hands of Stalin who turned against Jews when Israel ‘betrayed’ him. So, in both the USSR and the US, Jews were never perpetrators or villains; they were ONLY victims. So, never mind what Jewish spies and radicals did in the US; just remember that some Jewish Hollywood Ten guys were saints because they took the fifth and did a few years in prison. So, never mind that Jews played a key role in the communist putsch in Russia and ran the Gulag system. Just remember that Stalin killed some Jewish leaders and later turned against Zionist-Jews. Never mind that Jewish Oligarchs during the 1990s looted and bled Russia dry and ran off with the loot to UK and fancy cities in Europe and Israel. Just remember that Putin is an evil guy and ‘anti-Semite’ because he went after some Jewish oligarchs and because he won’t cave into the demands of the international homo cabal which is really a proxy for the international Zionist Jewish supremacist agenda.
Malle grew up with pride and privilege in a wealthy family with a sense of national glory, but at the mere age of eight, France lost a most humiliating defeat to the Germans. France’s miserable performance in the second war with the Germans in the 20th century cast doubt on its ‘victory’ in the first war, in which France just barely eked out a win with massive participation of the British and, in the final years, the Americans, and of course, half of German military had to fight the Russians. Indeed, it’s interesting that the French-German battles in WWI were mostly fought on French soil, and despite Germany’s defeat, her territory was barely touched by the victorious allies. Anyway, when France squared off against Germany virtually alone in 1940, the result was as devastating as Joe Louis’ 1st round knockout of Max Schmeling in their second bout. It was all the more humiliating because, despite France’s declaration of war, it had taken no offensive action and merely dug in as if its only hope was to fight defensively. French had made a grandiose gesture in declaring war to liberate Poland but, when push came to shove, just hunkered down to weather the German offensive. Later, such caution or ‘cowardice’ proved useful in portraying France as the victim of Germany as the aggressor-nation. France could play victim because it had taken no offensive actions against Germany despite having declared war. Had France declared war AND attacked Germany first, German actions against France would have seemed more justified. But because France declared war but did nothing but dig in, the popular narrative has been "Germany invaded Poland and then, for no reason, invaded France", when, more likely, Hitler wouldn’t have moved westward if France and UK hadn’t declared war on Germany. Although Hitler had vengeful feelings toward the French over the ‘injustice’ of the Versailles Treaty and prepared Germany for a possible war with France, a Franco-German war was not a priority in his grand strategy, which was to win over UK as a global ally and to find some way to prevail over the USSR. Thus, the outcome of the war in 1940 made clear the comical the discrepancy between French pride and French prowess. France was like Jim Jeffries against Jack-Johnson-as-Germany. Despite all the hype as the Great Hope of Freedom, it was KO-ed by the ‘crazy nigger’ of Europe: Hitler’s war machine. It was like Ride of the Valkyries, with Germanic warrioresses tearing Joan of Arc to shreds. Perhaps, an honest assessment of defeat would have led to meaningful self-reckoning. But the Vichy Regime maintained the facade of independence while the exiled Resistance postured emptily(like a prince-turned-hobo whose only reminder of former glory is the suit over his shoulders), utterly dependent on the power of UK, US, and USSR. The Vichy regime cut a deal with the Germans whereby both sides feigned amity and mutual respect; Germans would pretend to respect the French as long as French dutifully served as lapdogs(just like fallen Anglo-Americans cut a deal with the new Jewish elite whereby the former could go on pretending to be co-elites as long as they bend over to every one of Jewish demand, such as ‘open borders’ & amnesty for illegals, Wall Street bailout, attack on Mother Russia, bombing the Muslim world, praise of interracism, promotion of homo propaganda, and etc). So, even though France was crushed and reduced to playing whore and running dog, the official facade allowed Germany and France to maintain the pretense that France hadn’t so much been defeated & invaded as liberated from Jewish socialists. (To be sure, the collaborationist narrative wasn’t entirely bunk. Prior to the war, many Frenchmen on the Right and Center felt their nation had been stolen from them by ultra-cosmopolitan internationalists and Jews. They were filled with so much anger that they genuinely preferred the Germans as less harmful to France. Despite the shame of French defeat and German Occupation, the alternative — evisceration, emasculation, and immiseration of France at the hands of proto-globalist Jewish bankers and soulless decadents — seemed far worse. In this light, the Collaboration was far more complex than the official postwar narrative would have us believe. Likewise, some Manchurians sided with Japanese Colonists because they feared Chinese nationalist hostility as the greater threat to Manchurian integrity. And Sukarno also collaborated with the Japanese because his priority was liberating Indonesia from the Dutch. And American Revolutionaries collaborated with French Imperialism to defeat British Imperialism. By some twisted miracle, American Revolution managed to kill two birds with one stone. British were defeated in America, and then, the financial duress from the war finished off the French monarchy as well. An independent American Republic was possible only through the clash of empires.) Furthermore, the defeat of France was sweetened by the Nazi narrative that the French military had been weakened and demoralized by Africanization and Jewish cosmo-socialist influence. Thus, Marshal Petain, the grand hero of the motherland in WWI, found the arrangement palatable as the head of the Vichy government. Besides, the German terms weren’t as harsh as what France and UK had forced upon Germany in the aftermath of WWI. While France and UK utterly demolished the German economy, Hitler had no such agenda for France as his real contempt was reserved for Slavic populations. Though Hitler thought the French weren’t ‘racially’ as good as the Germanic ‘Aryan’ stock, he had profound respect for them as a people and civilization. Even the Jewish Policy was largely left to the French themselves, and it was the French who rounded up most of the Jews, sometimes using a ‘racial’ criterion of Jewishness that exceeded Nazi guidelines. French antipathy toward Jews wasn’t a phenomenon only on the Right. While some Frenchmen eagerly welcomed the Germans as counterweight and destroyer of Jewish power in France — similarly, some white Americans probably wouldn’t mind if Russia invaded America and liberated white America from hideous Jewish elites and their homo allies who’ve gained tyrannical grip over the nation — , many Frenchmen across the political spectrum were deeply ashamed of French defeat and subconsciously sought scapegoats to fix the blame on. Just as the German military on the eve of the defeat in WWI cooked up the myth of having been ‘stabbed in the back’, lots of Frenchmen were eager to blame someone for France’s ignoble defeat, and Jews made a handy excuse. Therefore, even though the most enthusiastic participants who rounded up Jews for the Germans were Frenchmen on the Right, many non-rightist Frenchmen felt little sympathy for the Jews because maybe, just maybe, the shocking French defeat was the result of undue influence of Jews upon French culture and politics. A key moral question is, how much did the French who rounded up Jews know about the Nazi deathcamps? (It’s like the British who turned over Ukrainian prisoners back to the Soviets knew the men would face certain death but did so anyway to maintain good relations with the USSR.) How many Frenchmen knew there was a good chance that the Jews would face death? If they didn’t know, their rounding up of Jews wouldn’t have been any worse than American people’s support, tacit or active, of the governments ‘internment’ of the Japanese-American population during WWII. Suppose Germans didn’t kill the Jews but the American government killed the Japanese-Americans. Then, in retrospect, the Americans might seem worse than the French. (Indeed, some historians argue that the Truman’s government willfully derailed peace talks with Japan to test the nuclear bombs on that country.) While some Frenchmen surely knew about the death camps, many could not have known, and their participation in the roundup was hardly different from American support of rounding up Japanese-Americans. (To be sure, there were plenty of Frenchmen who heard rumors of the horrors but refused to believe them for whatever reasons ranging from sincere skepticism to willful denial.) Also, French behavior was hardly extraordinary given the heated passions during the war and under Occupation. How many Jews in Israel opposed the building of massive walls to keep Palestinians in ghettos? How many protested against Israel’s use of extreme force on Gaza, killing thousands of women and children in retaliation for one or two dead Israelis from Palestinian mini-rockets? When a prominent Nazi was assassinated, Germans had a policy of rounding people up randomly for execution, and Zionists do much the same in Israel. If Palestinian rockets kill a few Jews, Jews retaliate by killing thousands of Palestinians. When two Israeli soldiers were kidnapped by Hezbollah forces in 2006, Israel bombed the entire nation to smithereens, and Americans fully backed Israeli aggression. Neocon stooge Bush II always made brazen excuses for Israel. And think back to the days of communism when many Jews in Russia enthusiastically participated in the imprisonment and/or killing of millions of Ukrainians. Perhaps, we could argue that many Jewish communists didn’t know the full extent of the horrors awaiting the Slavs in the Gulag forced-labor camps, some of which were virtually death camps due to horrible conditions. Maybe some Jews knew and acted out of revenge against the ‘antisemitic’ Christian Slavs. Maybe some Jews really didn’t know the full extent of the horrors or believed that means justified the glorious ends of communism.
At any rate, same kind of moral logic applies to the French. Under great duress, people turn on their neighbors and lash out in frustration/desperation, especially if their neighbors are seen as ‘alien’. Consider the horrible sectarian violence in Iraq or India following severe political crisis. It’s like desperate rats struggling for survival will turn on each other. If people of same blood can turn brother-against-brother in times of crisis, it’s usually far worse among peoples of different blood. After WWII, plenty of people of Eastern Europe(driven to desperation and dementia by war and want) were more than willing to set upon German families — even those with roots in the land going back centuries — for pogroms, expulsion, or even extermination. And there are plenty of Jews in Israel who, if given a chance, would love to uproot all Muslims and Arabs in Israel and drive them to Jordan. French social psychology was no different in WWII. What made it especially tragic is that many of the Jews were destined for slaughter. That said, many Ukrainians rounded up and shipped to the Gulag also died in miserable conditions, but I don’t see Jews expressing contrition for their involvement in communism.
Shoah Desecrationists who deny the tragic are cranks or lunatics, but we should not blame all Europeans who took part in the roundup of Jews for Holocaust Guilt because many really didn’t know the full extent of Nazi horrors. Also, we must try to understand general ‘antisemitism’ within the context of Jewish attitudes, agendas, and abuses. Recent survey of what Jews have done to US and EU — and the Middle East racked by Wars for Israel concocted by Zionist Neocons — should heighten our awareness of the foulness of Jewish power and influence. Though the current rottenness of Jews doesn’t mean Jews were likewise in the past(just like German and Japanese foulness during WWII doesn’t mean they were similarly foul before or after the event), there is a discernible historical pattern of disproportionate Jewish influence(for good or ill), and since the end of WWII this influence has not only destroyed the Palestinian people but emasculated Western Europe men, homo-fied the United States — where masses of straight people now worship 1.5% of the population whose idea of ‘sex’ is fecal penetration — , and undermined the national sovereignty, cultural pride, and moral values of all gentile nations. Jewish power became especially noxious following the end of the Cold War because it came to control the US, the lone superpower. Jews couldn’t resist the temptation of using American power to further the aims of Jewish megalomania all over the world. If Jewish influence had positive and genuinely progressive value in the past because Jews, as upstarts, critics, and dissenters, provoked the status quo and challenged the powers-that-be with fresh insights and impassioned demands for new freedoms, Jewish globalist elites with their immense power now try to IMPOSE their will and agenda from above on all of humanity. It’s not about will & grace but will-to-power to disgrace anyone who’s deemed at odds with the Jewish agenda.

Anyway, the experience of the Occupation left an indelible mark on Louis Malle, and it was something he ruminated on for the rest of his life. A part of Malle always remained something of a dandy, a bon vivant, and he was accused of making rather shallow fashion-magazine style of movies(and without the ideological passion of Bernado Bertolucci whose cartoonish Marxism supposedly redeemed his celebration of perfumed aesthetics). His real breakthrough THE LOVERS, despite the eyebrows it raised, seemed fanciful compared to the energetic new films made by core French New Wave directors. (Malle could have gone the way of Claude Lelouch.) Some of Malle’s films have indeed been slight and vapid. But with background in French intellectual tradition, Malle at his best could be formidable, especially with MURMUR OF THE HEART, one of the best coming-of-age films, and ATLANTIC CITY, maybe his best feature film. And his epic PHANTOM INDIA is one of the best documentaries ever made, possibly the best Western film about India, one that probes and ponders so many facts and facets of that confounding civilization where treasure and trash sit side by side. The narration throughout the film is ideologically left-leaning, typical of the era, but Malle’s observations(ranging from speculative to sociological) of India’s people, culture, richness, and troubles are filled with poetics, nuance, and insight. Whether sound or unsound on the factual level, Malle’s thought processes are amazingly adroit and nimble through the tangled mess that is India(even if the final product of his ruminations may be unconvincing). It’s like deftly skipping stones across a cesspool, and one wonders if he would have made a better critic or writer than a film-maker. (To be sure, elevation of elegance in French Thought has often led to accusations of favoring surface over depth, impression over substance. In other words, French wax poetic about reflections on the waves than wade into the water.) As a director, Malle shared a tendency with Bernado Bertolucci, another European born to privilege and posturing with politics — albeit with more one-sided commitment. At their worst, both film-makers had a knack for cheapening sensations into sensationalism, sometimes degrading their material into fashionable eye-candy or arty soft-core porn.
PHANTOM INDIA, one of Louis Malle's greatest works.
Because Malle had to shoot PHANTOM INDIA off-the-cuff in strange locations and meet with unfamiliar personalities, often with unpredictable results, he had no choice but to adapt and improvise, to think outside the box of preconceptions and projections. Even as he observed and processed everything through his Franco-Western ideas, there was a growing awareness, both discomfiting and illuminating, of a cultural and historical reality far beyond any Western assumption, critique, or vision. Just as Alexander the Great couldn’t make heads or tails out of ‘India’, Malle’s film is a testament to how every Western idea about India, from the most damningly critical to the most exotically idealized, can’t hope to get to the heart of a civilization that Indians themselves are lost within as a broken maze. (Unlike Michelangelo Antonioni who projected his troubled vision of modernity onto the Amerika in ZABRISKIE POINT, Malle used cinematic devices as modest archaeological tools to unearth clumps of insight, the possible clues to the essence and secrets to Indian history and society. Being a French artist-intellectual, he couldn’t resist theorizing with scanty evidence, but the impossibility of complete control over the project resulted in a healthy kind of dialectic that became increasingly rare among ‘auteur’ directors who, as the ‘authors’ of their films, had a tendency to ‘totalize’ their works by excluding anything that didn’t conform to the vision. Granted, works of fiction are inherently more personal and self-enclosed as they flow from the imagination of artists, whereas film documentaries and non-fiction books must come to terms with facts and reality. Even so, fiction can be an alternative way of approaching truth via empathy and speculation, and non-fiction works can be used to further personal grudges or political agendas without regard for truth and integrity. Even though the French New Wave got started by breaking out of the studio and hitting the streets, it wasn’t long before many ‘auteurs’ withdrew to their cribs of self-indulgence or solipsism. New Wave went from studio to the street to the closet, and despite the ritualized confirmation of loyalty from the usual acolytes, it grew utterly irrelevant as years passed.) Because of Malle’s pampered partiality toward indulging his whimsies, there was always the danger of getting carried away(like a child in a toy store), especially with misses like DAMAGE, ZAZIE DANS LE METRO, and BLACK MOON.

Perhaps, this accounts for why Malle had such a troubled tangle of emotions about the Jew kid in his youth. Malle-as-child led a carefully scripted and planned life. He was the son of a wealthy family, he was the smartest kid in the school, he was a citizen of the great and proud French nation. But then a Jew kid came along, and the script began to unravel. The Jew kid was smarter than Malle. And through the Jew kid’s predicament, it dawned on Malle-as-child that France, despite its pretensions, is a defeated & occupied nation taking orders from Germany. A proud whore is still a whore. And despite all the rhetoric about French pride and glory, too many Frenchmen just caved to German demands. Like most people under foreign occupation, most French people collaborated or kept their heads down. The shame wasn’t so much that the French were worse than other peoples but no better. After all, the French had been telling the world and themselves that they are special and different, overflowing in ideals and integrity in short supply among the non-French. Indeed, even French Jews were spoiled by French self-inflation. In one scene in AU REVOIR LES ENFANTS, a Franco-Jewish customer sits in a fancy restaurant and, when asked to leave by the owner, insists he has special privileges to dine there, leading to mounting tension. Ironically, it’s a German soldier sitting nearby who, out of irritation than sympathy, tells the owner to let the Jew stay. (The moment is doubly humiliating to the French owner who is doing the bidding of Germans but is then admonished for doing so by none other than German soldiers.
At least by humiliating the Jew with special vehemence, the French toady could make believe that he has agency and power against the Jew. He could pretend that his anti-Jewish actions are sincerely personal than orders from above. But then, the Germans command him to leave the Jew alone, and he realizes he has no choice but to sheepishly comply. Even a random German soldier has more power than him in Occupied France. It’s like a dog barking loudly like a top dog at another animal. But when the master commands it to hush and be nice to the animal, the dog has no choice but to comply. Its agency as an angry dog was just a delusion. Its ‘friends’ and ‘foes’ are decided by the master.) Jews are being persecuted in France, yet the rich French Jew is fixated on his own privileges that place him above other Jews, the ordinary ones. Most likely, if German policy had only targeted foreign Jews in France, many French Jews would have collaborated because many Western European Jews felt disdain for relatively newly arrived ‘dirty’ Eastern European Jews, just like affluent or over-educated Liberal whites in places like NY feel disdain and disgust toward ‘backward’ and ‘less evolved’ whites of the South and rural regions of the Midwest, who are sometimes referred to as 'white trash'. Such attitudes also exist among former West-Germany Germans toward former East-Germany Germans. And Hong Kong-ese and Taiwanese look down on ‘backward’ Mainland Chinese, and plenty of upper caste Asian Indians who speak English look down on the poorer elements in India. (To be sure, it’s more understandable among Hindu dotkins because India is a diverse nation with ancient roots of caste-apartheid. Rich Indians disdaining poor Indians is a case of one racial group looking down on another. The case of Mexican racial politics is more perverse. Like India, Mexico was created by a lighter-skinned race conquering and ruling over a darker-skinned people. But if Indians reinforced an explicitly racial system of hierarchy, the Latin elites of the Americas were of Christo-egalitarian tradition and later influenced by Liberalism and Marxism. So, even though ‘Latin America’ had developed as a racially hierarchical social order like traditional India, the official dogma was that peoples in nations like Mexico and Venezuela are equal as ‘brown people’. In truth, the white elites of ‘Latin American’ nations despise the indigenous folks but dare not air their views. For one thing, they are outnumbered by the mestizos and Meso-Americans who hold the moral ace since White Guilt is part of global PC. Secondly, even though Latin whites are essentially white and European, they are somewhat darker than Northern Europeans, a fact that has inflamed their sense of resentment and inferiority complex in Europe and the Americas. [Many Greeks and Southern Italians are genetically closer to Turks and Arabs than to Northern Europeans.] So, even as Latin Whites despise Indios and Mesos, they pretend to be one with the ‘browns’ and redirect their contempt[for non-whites] toward ‘gringo’ whites, the whiter whites. This way, Latin Whites figure on killing two birds with one stone. By making ‘gringos’ out to be the enemy, Latin Whites encourage their impoverished brown masses to migrate to America in the spirit of ‘reconquista’ to alleviate socio-economic problems at home. Also, by delighting in the demise of Blanco Gringo America, the less-white Latin whites find satisfaction in the destruction of the object of their envy. It’s like Jewish women want to see white women have babies with black men because they resent ‘Aryan’ beauty. Jewish women see white beauty as a False Idol to desecrate and destroy, and what better way than by turning white wombs into baby factories for kids with frizzy hair, fat lips, and broad noses? Though Hindu elites and Latin elites have different histories, the Latin Perversity has now spread to many Hindus, especially in the West. Even though lighter-skinned Hindu elites have long despised darker-skinned Dravidian Indians — and still do in daily life — , they find themselves to be dark-skinned vis-a-vis the whites. They’ve been treating dark-skinned Dravidians as ‘niggers’, but the white Anglos saw all Hindus, even the Brahmin elites, as ‘niggers’. So, the Hindu ‘honkies’ suddenly found themselves to be ‘niggers’ in the eyes of whites. They still despised the Dravidian ‘niggers’ but resented being despised as ‘niggers’ by the British. Today, they want to keep down the darker-skinned Dravidians as ‘niggers’ but don’t want to be treated as ‘niggers’ by whites. On the one hand, they want to move to white nations and rub shoulders with white people. They don’t want to mingle with dark-skinned Indians who still poop outdoors and live in trash dumps like in SLUMDOG MILLIONAIRE. But because of the history of Anglos having called all Hindus ‘wogs’, the Hindu elites make noise about their alliance with Diversity against whites. But they’d rather be with white than with ‘wogs’.)
There’s no guarantee that a people will be sympathetic toward their own kind. Many German-Americans were disgusted with Nazi Germany and more than willing to fight their ethnic brethren across the Atlantic. (Disdain for one’s own kind could arise from conscience, a rejection of the blinding tribalism of ‘my country right or wrong’. It could also arise from assimilation with another dominant population, e.g. Italian-Americans primarily identifying themselves as ‘Americans’ than as ‘Italians’. It could also result from a sense of inferiority, whereby seeking approval of and acceptance by the superior Other is regarded as a sign of status improvement.) Thus, the snobbery of the Western European Jews toward Eastern European Jews was hardly exceptional as an example of intra-tribal hostility, except for the fact that WWII became a matter of life and death for ALL Jews, and so, the snubbing of ‘less evolved’ Eastern European Jews by Western European Jews proved to be a futile act of betrayal. No matter how much Western European Jews sought to assert their distinction from the ‘dirty Jews’ from the East, they were all Jews in the eyes of Nazis for whom every Jew was the Eternal Jew beneath the facade of various levels of assimilation.
To an extent, the attitude of some Western European Jews toward Eastern European Jews — who were seen as hairy, smelly, vulgar, uncouth, obnoxious, and backward — reflected their desire of assimilation. (After all, if Jews must assimilate, why not into a superior culture like France than some ‘drab’ culture in Eastern Europe? After all, weren’t Western European Jews superior to Eastern European Jews precisely because Western European culture & society were more advanced their Eastern European counterparts? While Jews have always fretted about loss of identity, if lose it they must, why not trade Jewishness for a glorious culture/identity like that of the French, British, or German? Why give up Jewishness to become one with a bear-wrestling Russian or a ‘Dumb Polack’ who has to summon the entire village to change a light-bulb? Indeed, it’s instructive that Jewish assimilation in Russia happened only under communism, an equalizing ideology of enforced mediocrity as a moral mandate. In contrast, assimilation for Jews in Western Europe meant reaching the upper echelons of society and partaking of the best that the most advanced civilization had to offer. All over the world, people are generally less resistant to assimilating with what is deemed superior. Many are indeed more eager to assimilate with the ‘superior’ people & culture than protect and preserve their own. So, Chinese in Southeast Asia don’t want to give up their Chinese-ness to become a lowly ‘Indonesian’, ‘Malaysian’, or ‘Cambodian’, but Chinese in the West will gladly give up their Chinese-ness to become ‘British’, ‘American’, ‘Canadian’, or ‘Jewish’. Chinese women don’t want to have ‘inferior’ children for Laotian or Nepalese men, but they will gladly have kids for Jewish men and raise them as Jews because Jewishness comes with great prestige. Blacks are something of an outlier. As Africans, they’ve achieved little in terms of science, technology, and economics. They are among the biggest losers in the world. But as ‘groids’ in the West, they’ve become dominant in sports, pop music, gangsta style, and sex culture. The idolatry of black ‘cool’ had even the daughter of John Boehner marrying a dread-locked ‘groid’. And white women worship Oprah as electronic-earth-mother, and even the British royal family wants to marry with Negroes and Negresses. Brits feel chilly & cold with their uptight buttoned-up Anglo-ness and find warmth in the vibrancy of Afro-fizzy-ness, like Wasp George Lucas did with his sappy head lodged between the chocolate-flavored boobs of his Negress-wife .) Napoleon said, "Everything for Jews as Frenchmen, nothing for Jews as Jews." In other words, if Jews want equality under the law, their main loyalty had to be for the Republic(though it began to look more like an empire). Thus, French Jews whose main loyalty was to France than to foreign Jewry didn’t regard themselves as ‘bad Jews’ but as ‘good Frenchmen’. If a good Frenchman must choose France over all else, he must do what is good for France even at the expense of foreign Jews. (Granted, this led to layers of snobbery among certain assimilated French Jews. Jewishness itself is inherently arrogant and chauvinistic, founded on conviction of special Covenant between God and Jews. So, when Jew adopted Frenchness, they could become doubly arrogant as fancy French culture provided yet another layer of arrogance. Because of the French Revolution that waged war on all spiritual underpinnings, the French demand on Jews seemed ‘fairer’ than ones made on Jews in neighboring states. The Revolution, in attacking all religions, didn’t discriminate between Christians and Jews, the model for what would happen later in the Soviet/Russian Revolution. Outside France, in contrast, Christians were clearly favored over Jews. In France, Jews didn’t have to become ‘goyim’ by conversion to Christianity to assimilate. Rather, they just had to become ‘Frenchmen’ without any particular religious affiliation. The great irony of French Civilization derives from its universalization of arrogance. Its openness was both chauvinistic and brotherly. It was offered as a gift to all mankind on the premise that French culture is better than all others. It was imperialism and liberation at the same time. Those who came under French influence took on Princely attitudes in the name of the People. In contrast, the traditional Chinese were no less arrogant and chauvinistic, but they just wanted to keep their superior culture to themselves. Barbarians were not good enough to partake of it, and even if they did, the Chinese were indifferent. In contrast, the France developed a notion that French grandeur can fulfill its destiny only with the spread of French Culture all over the world.) And if the French Law said foreign Jews must go, then it was incumbent upon good French Jew to work with French gentiles to comply with the law. (Such principle of higher loyalty became meaningless during WWII when it became futile for Jews to demonstrate their goodness. No matter how much French Jews cooperated with the Vichy regime as proof of their patriotism, they were seen as Jews who didn’t belong in Europe.) Of course, in France as in Germany, the harshness of the laws wasn’t manifest all at once. The Nazis cleverly understood that if they tried to ram it all down at once, it could lead to outrage and resistance. Therefore, they moved in stages, thus making people feel that the worst was over and that things would slowly return to normal if they obeyed the system. Lenin and Mao pulled the same trick in their respective nations, pushing for communization in gradual stages, thus making most people feel that the worst excesses of radicalism were behind them. Likewise, the German-ruled France initially targeted foreign Jews, and French Jews thought things would improve once the foreign elements were removed. But then, it gradually dawned on French Jews that they were next. They realized that there is no end to pathological radicalism. Once the ball gets rolling, it accelerates and demolishes everything in its path until it runs out of energy or is met with countervailing force.
Similarly, white Americans think if they just go along with the Jewish globalist agenda, cooler heads will prevail and things will settle down & return to normal. Such misleading impression is sustained with the gradualist see-saw policy of white displacement that is calibrated to gain full momentum only when white resistance is hopeless EVEN IF whites were to finally wake up and unite in action. It’s like a passenger can be fooled that the car is going northward than westward by swerving the car back-and-forth from northwest and northeast. But if the car alternately goes two miles westward and one mile eastward, the final result of all that mileage will be someplace far out west. If Jews had implemented a full-blown radical policy in the past, whites would have risen up and confronted the Jews. So, devious Jews use the ebb-and-flow method. They pushed hard but then relaxed, as if to create the impression that the worst was over. But they were just prepping for the next push that is even harder. In this way, the US went from a sane normal nation to one where idiots worship Homomania as the new christianity. As a result, the US went from a solid white majority nation to one where whites live under Jewish tyranny in Diversity-Dystopia. America went from having a president like Ronald Reagan to a scummy son of a mudshark who did the bidding of the Jewish and homo elites. Just as Jewish hopes for Nazi mercy were foolhardy, white American prayers of mutual respect & understanding with Jews are pure fantasy. It is the radical and contemptuous nature of the Jew, cultural and genetic, to push the knife deeper, twist it, and add salt to injury. Just ask the Palestinians if Jewish aggression can ever be appeased or satiated? It’s like believing Harvey Weinstein will stop abusing women of his own accord. The fate of Palestinians is the template for the future of the white race in the Jewish Globalist-Supremacist order.

Anyway, Malle-the-child, who was born into privilege and complacency(even if a competitive complacency in which he had to make the grades and pass the exams), found himself in a kind of a bind: A world, at once, too-good-to-be-true and too-horrible-to-contemplate. Like the young Siddhartha, Malle-the-child was sheltered from troubles of the world. Though pushed to succeed in school, as long as he made the grades(not difficult since he was born with natural smarts) and found his place in the system, a nice future was in store for him alongside others like him. When Siddhartha stepped out of the comfort zone and bore witness to disease, decay, and death, he underwent a spiritual crisis. Something similar dogged Malle for the rest of his life. On the one hand, Malle never lost the bourgeois sensibility of elegance and taste for pretty things — and as a French man, for sensual things — , but another side of him couldn’t help but feel that this personal paradise hid a dark secret. (And perhaps, he didn’t deserve his successes because historical circumstances favored him over Jews with superior smarts and talent. It’s like Liberal white men like Tom Brokaw loved fame and wealth but were nagged by the sense that their success had been premised on the ‘racism’ and ‘sexism’ of a society that favored their kind over others. It’s the QUIZ SHOW[Robert Redford movie] mentality that Wasps enjoyed favoritism and privilege they really didn’t deserve. In a way, they were correct because past American society did favor 'white males' like Tom Brokaw over others. But then, white people like Brokaw founded, settled, and built this country, so why shouldn’t they have favored their own kind over Jews and ‘groids’? Jews certainly favor their own kind in Israel, and blacks in South Africa rig the system to favor less qualified blacks over whites and Asians.) A similar sense pervades throughout BLACK MOON, an interesting if confused combination of decadent opulence and grim violence. As for PHANTOM INDIA, perhaps in a subconscious way, Malle felt compelled to visit and make a documentary about India because its history, culture, and society embodied such divergences between dream and reality. Especially in the 1960s, there was much romanticism about India as a timeless oasis of spirituality(as opposed to the fast-paced materialism of the West), peace & harmony(especially between man and nature), selflessness & abandonment of ego, and etc. If some movements in the 60s looked to Mao’s China for revolution, others looked to India for revelation. But the real India didn’t resemble the pipe-dreams of Hippies, proto-New-Agers, and utopians. The real India was dirty, grimy, sickly, corrupt, demented, cynical, brutal, petty, greedy, nasty, wicked, hideous, vile, stinky, laughable, ridiculous, ludicrous, cruel, uncaring, repressive, oppressive, pitiless, and gave you the runs if you drank the water. A dotkin’s world could be as filthy as a fruitkin’s bung.
In the West, ‘dirty money’ means greed and corruption are bad. In India, it means the money is literally soiled and stinky and filthy, like it was pulled out of a sewer or used as toilet tissue by the kid in SLUMDOG MILLIONAIRE. Though Ganges is supposed to be the Sacred River of India, it is really a giant toilet bowl. And yet, there’s no denying that India has been one of the absolutely great civilizations, and one of the great sources of imagination and spirituality, perhaps the most profound in the world. Also, India has exerted tremendous influence in arts, dance, and music on its neighbors. Though China and Japan has commanded more attention in the West in the 20th century, India has historically influenced China and Japan more than vice versa. Buddhism’s impact on Northeast Asia cannot be overestimated, whereas India remained impervious to East Asian philosophies and ideologies. Possibly Lao Tzu, as an individual or collection of individuals, might have cribbed ideas from Indian Thought as well. So, India is a great civilization that produced some of the most interesting arts, cultures, philosophies, and religions. But like so many dirty, corrupt, and poor Third World nations, it’s also been a stinkpot throughout the 20th century, made worse by the fact that the Indian Saris aren’t ideal in heat or pleasant to the eyes. Hot regions are sweaty, and so it’s best to wear something simple in design and pattern. Saris have to be held as well as worn, and their bright colors only accentuate the sweat. Arab women have the better hot weather outfit, as long as the color isn’t black as black absorbs excess heat. Indians sure can be stupid sometimes, coming up with dumb ideas like smudging dots on their foreheads and piercing their noses, an especially hideous sight to behold. Earrings look good, nose-rings look retarded, but the fact that this aesthetic crime has spread among white folks — some of whom even pierce their tongues(but then, this is a society that now thinks homo fecal penetration is real sex) — makes you wonder about mass culture in the 21st century. When I was young, nose-piercing was something that the Other, the weird Hindus featured in National Geographic magazines, did. The idea of any white woman piercing her nose would have been ridiculed as ugly, and rightfully so. Even Negroes would have scoffed at the idea of piercing their noses. But when standards and meanings collapse under the weight of degenerate Pop Culture and demented Political Correctness, anything is possible. Just as junk is promoted as ‘art’, ugliness is marketed as beauty.


Anyway, Malle became noted as a documentary film-maker as well as a feature film director; indeed, documentaries comprised one-third of his output. A film-maker doing substantial work in both fiction and non-fiction isn’t rare though not common. Though our general impression is of directors as being full-time documentary makers(Barbara Koppel, Maysles Brothers, Errol Morris, Michael Moore, etc) or full-time feature film-makers, many have straddled both forms, though most American directors tend to be more renowned for one over the other. Martin Scorsese, for instance, made documentary films — NO DIRECTION HOME, SHINE A LIGHT, PERSONAL JOURNEY WITH MARTIN SCORSESE THROUGH AMERICAN FILMS, LIVING IN THE MATERIAL WORLD, MY VOYAGE TO ITALY, THE LAST WALTZ, ITALIAN-AMERICAN, and etc. — , but his reputation rests on his fiction films. For most aspiring film-makers in America, documentaries were seen as a means of apprenticeship and experience before embarking on the true ambition of feature film-making with huge production values. This was clearly the case with William Friedkin’s evolution from documentaries to Hollywood. It was like going from folk music with acoustic guitar & harmonica in small venues to playing with a band with electric guitars, bass, and drums in giant stadiums. Documentaries have been a cheap and convenient way of getting training and being noticed(at film-festivals or work on public TV) because film stocks, even 16 mm, were pretty expensive. Documentaries needed not be long, and crudity of technique was more forgivable than in feature-films. (Stanley Kubrick got practice making documentaries like THE DAY OF THE FIGHT.) Besides, one could make documentaries without props just by directing the camera at reality, whereas feature films, even most French New Age ones, relied on artifice and production values. And, with cinema-verite, camera movement could be jerky, the image dark and grainy, editing elementary and crude, and real-life characters grungy, drab, or un-photogenic. If anything, such qualities were deemed as seal of authenticity & unvarnished truth and , in time, even influenced feature film-making as it moved out of studios into streets and actual locations. (Now, even big Hollywood movies employ, albeit in a post-modern mode, styles that originated in independent film and foreign cinema. Consider how the Tom Cruise vehicle AMERICAN MADE freely alternates between standard Hollywood conventions and documentary-verite style once rare outside the domains of documentary film-making and radical cinema, which gave us works like SALVATORE GIULIANO or THE BATTLE OF ALGIERS. The willful crudity as badge of authenticity and autonomy has been copped by Hollywood. There was some of this already with Elia Kazan who took obvious inspiration from Italian Neo-realism and made some powerful movies. But it may have been the success of EASY RIDER that really convinced Hollywood that ‘radical’ and ‘independent’ vernaculars could be ‘appropriated’ and adapted into New Conventions. And this process was accelerated with the rise of the music video that made pomo sensibility dominant in American culture. Despite or precisely because of their sheer nonsensicality, music videos could shamelessly ‘experiment’ by ‘mumbo-jumbing’ everything under the sun and from where the sun don’t shine. MTV warholized every child’s bedroom. Oliver Stone’s terrible NATURAL BORN KILLERS bemoaned of how the pomo contortions of media warps and distorts reality itself because the TV has become THE reality in the lives of most Americans. It’s all the worse in the Age of MTV because even the representational markers between documentary/news and fiction/fantasy has dissolved. Stone didn’t so much adapt as remonstrate with Quentin Tarantino’s script. While the news media always had a problem with the truth, there nevertheless used to be recognizable markers as to what constituted news/documentary as opposed to movies/entertainment. It’s like the book covers for serious literary output differs from covers of pulp novels. But pomo sensibility not only blew up the wall between art and pop but the wall between news and entertainment. So, the ‘font’ and style heretofore associated with serious news or documentaries could be copped for tabloid junk or music video just to add ‘ironic’ flavor. It was in the Age of MTV that the barrier between news and entertainment nearly vanished with shows like Current Affair and Hard Copy. Today, most news programs are closer to salacious tabloid or deep state propaganda than sober news. But then, Stone himself shares in the blame for making something so wacky-sensational and demented-over-the-top as JFK, a case of "This is your conspiracy theory, this is your conspiracy theory on drugs." Anyway, if Pop Music could borrow cruder elements from the streets and farms and reshape them into formula & industry standard, cinema did likewise. Consider UNITED 93, which is both Hollywood and ‘indie-radical’ in style.) For film-makers just starting out with limited means, one of the best chances of being noticed was with a documentary film screened at festivals or aired on TV. Generally, if film-makers are more interested in subjects than styles, they’ll stick to documentary. Some people are more inquisitive than creative. They regard film as a means than an end in itself. For them, film is a lens focusing on reality or spade digging for truth. (On the other hand, there are ways to be experimental and creative with the documentary form. Chris Marker, Alain Resnais, and Hiroshi Teshigahara were especially adept at this. And Orson Welles, via elements of docu-drama narrative in CITIZEN KANE and the pseudo-documentary in F FOR FAKE, illustrated the porous line between reality and fantasy; after all, mediums and minds process everything, true or false, through the same organs and instruments. Thus, our perceptions are never that of pure truth or pure fantasy but of series of impressions harboring bits and pieces of everything. MR. ARKADIN, like CITIZEN KANE, also blends documentary investigative elements with fictional drama. Welles instinctively understood the paradox of how docu-elements could actually heighten the unreality because the keen ‘investigative’ eye is made to bear witness to the disorientation of truth. If you want to make people believe in UFO or Big Foot, offer the ‘documentary’ evidence, however doctored it may be. Or why not subvert the very faith of seeing-is-believing, until the objective gaze no longer believes in anything anymore, as becomes the case of Joseph K. in THE TRIAL. Consider how, with a few bits of ‘documentary’ evidence, Iago fools Othello into seeing what isn’t there. It’s the conceit of seeing-is-believing that ultimately fools people into seeing what isn’t. The make-believe of involving an ‘objective’ eye in the world of fiction only heightens the strangeness, especially as the supposedly ‘objective’ player is, after all, also an invented figure. An objective figure in fiction is a contradiction: An honest factual eye fixed on what is make-believe and fantasy. This creates a hall-of-mirrors effect as the ‘objective’ figure, though introduced as autonomous and independent from the rest, comes to realize that his fate and ‘reality’ are no less interlinked with the subjective wills and agendas of the others. He is less a sun observing the planets revolving around him than a ball batted around among them, like the Tom Cruise character in AMERICAN MADE. This contradiction is somewhat muted in CITIZEN KANE where the reporter mainly serves as our eyes and has no dramatic function. It’s more striking in LADY FROM SHANGHAI and MR. ARKADIN where the hero, who begins as an ‘independent’ observer/operator of other people and their problems, comes to realize that he too is as much an object of others’ gazes as they are to his.) But for those immersed in the magic of cinema, feature film-making is their true calling. So, if your main interest is astronomy, you’d make a documentary that puts science and facts at the center. In contrast, consider Terrence Malick’s approach to the cosmos in TREE OF LIFE. It was about using the art of film to suggest at the spiritual connection between psyche and space. Though a terrible film, one can nevertheless understand Malick’s striving for meaning.
Of course, most documentary film-makers are not experts in any academic field and operate as mere professionals(even hacks) whose products are more entertainment than science; it’s science-for-dummies who will never understand, let alone practice, real science. But then, if such films inspire smart kids to pursue science, they are a net plus to society. Even though documentary film-makers for corporate-statist media are experts at their craft, their main function is to perfect and follow the formula. Because their primary purpose is to serve the public with facts, analysis, and interpretation, they agree upon a standard format, which accounts as to why most PBS documentaries in any given era look and sound so alike despite being made by different individuals and crews. Most stick to the idealized consensus of conveying ideas and information in the most digestible manner to the largest possible audience. The trick is to keep it reasonably smart but not too intelligent and certainly not intellectual. While such formula is respectable and often effective, they pose problems. For one, the documentarian has to follow the script and adhere to conventions. Even CucKen Burns, with his prestige and renown, must deliver what is expected of him. Indeed, THE CIVIL WAR, which made his name, was most notable for being the kind of generic documentary favored by PBS. It was almost made-to-order. Even more troubling is the conceit of objectivity on the basis of the impersonal presentation of the material. We barely sense the mind or the controlling agenda behind the presentation. Therefore, even though PBS is mostly controlled by Zionists and Jewish globalists, we may be lulled into believing we are seeing disinterested reporting and analysis of issues and stories. Also, diverse talking heads give the false impression of balance because, in actuality, the ‘contrasting voices’ are restricted to a spectrum preordained by the powers-that-be. So, even as corporate/consensus documentaries can be informative and engaging, we don’t get a sense of who is really pulling the strings and for whose agenda. In contrast, the personal documentarians do exhibit a specific angle of curiosity or passion, even bordering on obsession. At the low end, there’s the putrid Michael Moore, and at the higher end, there’s Errol Morris and Terry Zwigoff. And there have been figures like Peter Watkins who mix facts and fiction to propagate their own vision or fanaticism, albeit with the saving grace of personalism. At the very least, someone like Watkins can honestly claim his biases as his own than a decree from Big Brother... though one can’t feeling that the logical end of Watkinism is just another Big Brotherism so sure of its truth and rightness. Though corporatist documentaries are consistent and professional in quality, the personalist documentaries at their best succeed on a higher plane because they are guided by a discernible heart and mind imbued with poetics and/or poignancy lacking in works made by fiat of consensus and consent. Also, a honest subjectivity is more truthful than disingenuous objectivity. At least when subjectivity tries to be fair and balanced, we sense the subjective effort at objectivity. In the end, it is that effort that’s the most we can hope for when it comes to truth. It’s best to admit to our subjectivity and then work toward an attempt at objectivity. In contrast, the corporate/statist documentaries would have us believe they operate on the basis of objectivity.

Generally, non-fiction writers tend to be critical-and-analytical, whereas fiction writers tend to be imaginative-and-escapist. Though most documentary film-makers commissioned by public television have an impersonal ‘objective’ style — though documentaries have become more manipulative and propagandistic, especially in their use of music and editing over the years — , some documentarians develop unique styles of their own(and specialize in certain kind of subjects) and come to be admired as ‘auteurs’ in their own right. Though a risible film-maker and ugly personality, Michael Moore’s films can never be mistaken for anyone else’s. But then, Moore-ism is more a personal brand than a personal vision.
Though all kinds of documentaries have been available in the US, most Americans associate documentaries with journalism or general information for people who have neither the time nor will to read books. Consider the National Geographic documentary based on Jared Diamond’s GUNS, GERMS, AND STEEL. The standard documentarian generally withholds his perspective(or appears to), partly a legacy of the school of journalism that emphasized impartiality and ‘fairness’, a key concept of Anglo ethics. Also, there’s been a long debate as to what constitutes documentary as opposed to propaganda or advertising(especially since so many documentaries are produced by institutions funded by big donors; generally speaking, donor money will not compromise the material IF the subject matter is unrelated to the business or political interests of the donors; for example, if donation from a Wall Street oligarch funds a work about ancient history or astronomy, the documentarian has a freer hand; even in the Soviet Union, the documentarian was most free when working on subjects with little or no ideological relevance). There’s also been heated controversies about print journalism vs Television and about where reporting ends and where editorializing begins. But then, a truly crafty reporter can subtly add/subtract details and play with diction to slip bias into what appears like objective reporting. There is also the element of Term Warfare, the germ-warfare of words. With PC terminology informing journalese, even reporting becomes rigged when terms like ‘antisemitism’, ‘racist’, ‘homophobic’, ‘xenophobic’, ‘undocumented immigrants’, ‘unauthorized immigrants’, and ‘white supremacists’ are used. For example, suppose some white Americans call for White National Liberation from Jewish Supremacist domination of America. They won’t get a fair shake from the Jew-run media that label them as ‘whites supremacists’ but never ponder the possibility of Jewish Supremacism. Journalism is as much about labeling facts as reporting them. The Rule of Labels defines and pre-judges the facts. So, if ‘white supremacism’ is a term acknowledged by journalese but ‘white national liberation’ isn’t, then even white national liberationists who simply want OUT of the Jewish supremacist empire are branded as ‘white supremacists’ or ‘racists’. But since ‘Jewish supremacism’ doesn’t exist in journalese, even obvious manifestations of Jewish Supremacism don’t go reported as such. Consider how the Old Frontier press used to call American Indians ‘savages’. That term labeled Indians as primitive thugs, so they were always the bad guys no matter what they did, even when defending their turf from European invaders. This is why Jews are so adamant about keeping terms like Nakba out of the public discourse. Because of the absence of such terms, most Americans are unaware that the creation of Israel entailed massive ethnic expulsion of Palestinians from their homeland. The game of the name is the name of the game. Journalese narrative is fixated on the issue of "Will Palestinians acknowledge Israel's right to exist" while muting the fact that Nakba denied the right of Palestine to exist.

Contra the corporate/statist documentaries with authoritative air of respectability, there’s been a rapid expansion of another kind, for good or ill. Greater personal/subjective input has made the form more direct, candid, and open, but also more brazen and blatant. While Dinesh D’Souza and Michael Moore are freer in spirit than people who make FRONTLINE documentaries, their Pop Journalism is as debased as Pop Art. While Michael Moore certainly draws inspiration from the sobering works of Barbara Koppel and Emile de Antonio, his sales pitch is closer to that of shock jocks of Talk Radio. Just like the sincerity of folk music lost out to various forms of rock(that copped elements of folk for their own purposes), Moore and his imitators have been shameless in blending classic guerilla documentary-making with crass commercialism & egotistical self-promotion. Oliver Stone also found himself pushing the very sensationalism that he was condemning as a feature of exploitative capitalism. Unlike gross pigaroon Moore, Stone at least felt some angst and doubt, which is why NATURAL BORN KILLERS, awful as it is, is compelling as a confession of a boomer who came to realize, especially in the Clinton 90s, that his generation in power was turning out to be even worse than the previous generation. After all, increasing trashiness and retardation of both mass and intellectual culture was the work of the boomers. Moore comes off as a socialist Limbaugh with a camera instead of a microphone. His shtick is part MTV and SNL, which accounts for his popularity. He gorges people on laughter.
NATURAL BORN KILLERS, Boomer Oliver Stone's adaptation/critique of Gen X-er Quentin Tarantino's Pomo Dystopia
A far more interesting personal documentarian is Ross McElwee who made his name with SHERMAN’S MARCH, followed up with TIME INDEFINITE and BRIGHT LEAVES. Unlike Moore the boor, McElwee is reflective enough to ponder his incessant need to turn the camera on himself, a strange obsession he can’t do without, so he makes the best of it and records life in hope of chancing upon bits of insight and, on occasion, something like a revelation. In his breakthrough film, he meanders through Georgia, ostensibly to film a documentary about General Sherman’s campaign in the South but is mostly distracted by mundane details of life, the distant aftermath(of the Civil War) that is so disconnected from but inescapably linked to the tragic past. The present exists only because of the past, but the past is a foreign country, a theme also explored in MURIEL. To what extent McElwee’s low-energy ‘exploits’ are meant to be deadpan humor or neurotic recusal from active life, it’s not always easy to tell. Sometimes, we laugh with him, sometimes we laugh at him, sometimes he seems to be laughing at us, sometimes he seems to be laughing at himself. One thing for sure, we end up laughing, sometimes smugly, at the array of characters who are presented as far more eccentric(or ridiculous) than their self-image of normality. This New South is somewhat endearing, especially in the way it has come such a long way from the bad old days of slavery and Jim Crow. And yet, it is also pathetic and hollow, with the old displays of chivalry and honor kept as empty reminders of the sheer irrelevance of the past. Hardly no one would notice or grieve if they were discontinued, much like the debutante balls of the Northeastern Wasps, only more so because of the ignobleness of the Southern brand after the Civil Rights Movement. Also, the new Southern elites, having been educated in the same schools as their Northern peers, seem up to date in flaky fads and trends. Yet in certain respects, some things haven’t changed much at all. As McElwee mostly moves around in affluent circles divorced from the world of blacks and ‘white trash’, the reality of privilege and exclusivity continues in the present. One can’t help feeling McElwee can live in world of hobbies and 'trivial' pursuits because he’s been a man of means, if not great fortune, all his life. Though lacking the manic energies of Woody Allen and Albert Brooks, he shares their passive/aggressive relation with the world. The camera serves as both security blanket(like Linus’) and a hammer-and-chisel to carve his niche. McElwee is like a masterless bloodhound sniffing around for clues without knowing where the clues(or diversions?) will lead. But then, he invariably comes around to sniffing his own butt. Still, he manages to unearth some truffles.

When McElwee was young and single, the shtick was rather endearing in a work like SHERMAN’S MARCH. But as he grew older, got married, and had children, his constant need to record became somewhat pathetic, even disturbing, though also informative, revealing, and touching. Also, in a world where most of visual medium is saturated with stars and celebrities, why not turn the gaze on real problems of life? In a way, he was ahead of his time because the ubiquity of cell phone cameras and social networking enabled countless people to record and share so much of their lives. (200 yrs from now, descendants will be able to see an over-abundance of details of their ancestors beginning with the onset of the digital-internet age, that is if the data are stored and preserved. And yet, paradoxically, future generations may have no interest in their ancestors precisely because there is too muchness of data and information. The past won't be so much a fascinating 'foreign country' as a click away that shows stupid images of ancestors taking selfies of themselves in the washroom of Taco Bell. Also, as the technology is geared to make users focus on the here-and-now, they are too busy making new data to care about old ones.) On Facebook, it’s not uncommon for people to share what they had for lunch or where their dog or child threw up. Through Twitter, celebrities and public figures instantly share whatever pops into their heads. Anthony Wiener of New York even forwarded photos of his ding dong with strangers on the internet. So, given current state of culture & technology, the neurosis on display in SHERMAN’S MARCH and TIME INDEFINITE seems the dawn of the New Normal. The ease and availability of technology have normalized what might have been considered a neurosis. In making SHERMAN’S MARCH, McElwee had to lug around a big camera(by today’s standards of mini-portability), and he stood out as a rare bird. Even with the advent of the camcorder in the 80s, most people didn’t carry around a video-device at all times. Back in the 80s and 90s, McElwee was doing something ‘different’ and ‘obsessive’, like the mad hero in FITZCARRALDO dragging a ship up a hill through the Amazon forest. But now that photographing, filming, and videotaping have become so cheap, easy, and mundane — even babies grow up playing with high-tech gadgets — , the melding of subjective/personal/private life with the public sphere has become normal and ‘natural’. There are many who rely on devices almost as indivisible parts of their bodies. They don’t feel alive unless the personal is made ‘public’, in which case, it is no longer personal or private. That said, McElwee is concerned with real life whereas most video-obsessives play at celebrity-wanna-be’s and imitate their favorite pop idols. In DOCTOR ZHIVAGO, it was the coercive totalitarian regime that tried to do away with the personal. In today’s hyper-globalist interconnected world, individuals themselves dissolve the personal as something lonely and isolating; they want to feel connected with the world at all times, like a baby inside a womb is connected to the mother. Having been cast out of the womb in childbirth and with flimsy family ties in an atomized soulless world, advent of high-tech connectivity has created a womb-like sensation for an increasingly infantilized populace. (Our lives intersect so much with technology that we are sort of like replicants in the BLADE RUNNER universe. Despite our flesh-and-blood existence, modern life has become inseparable from technology, not just for material convenience but in matters of consciousness; we are no longer content with classic consciousness of having mind and soul; we don’t feel alive unless our senses are connected with constant streams of signs, music, images, narratives, and messages via electronic networks. And yet, each of us do have an autonomy even if it goes ignored and neglected. In BLADE RUNNER 2049, the hero navigates between classic humanity and virtual humanity. The female police chief is a defender of the classic humanity. Even though she accepts the invaluable existence of replicants, she wants to maintain a WALL between humans and androids. Replicants may be stronger and even smarter than humans, but they are distinctly inferior to humans in one key department. What sets humans apart is they, and only they, can create life through procreation, whereas replicants, however capable they may be, cannot. So, the idea that replicants can create life on their own is deeply threatening to the humanity of the police chief. The ‘miracle’ of replicant procreation is presented as both holy and unholy. It is a hope for replicants who’d always been regarded as creations than creators, products than producers. But it’s also the sinister vision of super-oligarch Wallace who apparently wants reproductive replicants to replace pathetic & fragile humanity. The character of Joe is at the cross section of all these conflicting forces. A further irony is represented by the virtual character of Joi. In some ways, her kind is the most superficial ‘being’ in the world: Ephemeral and illusory. Ethereal creatures who look real but are mere signals beamed all over the city like 3D billboards. And yet, she has her own consciousness and memory. Furthermore, hasn’t the ultimate dream of all religions been for man to transcend flesh and become spirit? Joi is a kind of ersatz-spirit-being, and as such, cannot be harmed physically. Bullets will go right through her. But having something like consciousness, she can be hurt emotionally. Ultimately however, this ‘spiritual’ aspect of Joi is also an illusion because, all said and done, her existence depends on materiality; she is a software that cannot exist without hardware, however elegant it may be. Unlike Jesus who cannot be destroyed by the stepping on the crucifix in THE SILENCE by Martin Scorsese, Joi is gone when Luv’s boot crushes the ‘emanator’.)
BLADE RUNNER 2049: Status Quo vs The Future
But because the new technology is so unobtrusive and easy — a smartphone even has quasi-totemic quality — , it functions as an almost natural extension of life. There’s more eagerness than anxiety among social commentators and culture critics about new technology even when it involves something as radical as virtual reality and sex-robots. The only question is how we can best adapt to what is deemed inevitable(channeling Alvin Toffler) than question its moral, philosophical, and political implications as men like Aldous Huxley and Anthony Burgess have done in the past. While the ‘wonders’ of high-tech devices are undeniable, the paucity of discussion on how technology may fundamentally alter what it means to be human is troubling.

Though McElwee carved out a niche for himself with SHERMAN’S MARCH, his subsequent films have garnered less attention, and part of the reason could be McElwee-stics has become a humdrum part of everyday life. When so many people are recording and sharing details of their lives, there’s less need for a representative scribe of Real Life. Same happened to the art of film criticism. When so many people can share their opinions of movies online, there is less need to rely on critics as delegates of one’s views. In the age of print journalism, a person might look to a critic with like-minded views on a particular film to hoist the battle flag of righteous opinion. Critics have lost that priest-merchant role in culture because moviegoers now feel they can share their views freely with others. Granted, most voices go unheard in the busy traffic of the internet, but the SENSE of being part of a community is enough for most movie fans.

When most Americans think of quality documentary film-making, they think of someone like Ken Burns, whose technical skills are undeniable(even if conventional). Burns’ approach isn’t bombastic or propagandistic like that of Moore and his imitators even though, like most ‘objective’ documentaries on PBS, skewed toward Liberalism and Negro-mania. In conceptualization and delivery, it’s strictly middlebrow stuff. However, as treasure troves of carefully assembled archival photos and film footage, Burns’ documentaries definitely have value. However one may feel about the narratives of CIVIL WAR, JAZZ, UNFORGIVABLE BLACKNESS, and PROHIBITION, they resurrect mostly forgotten or overlooked history. As a stylist and ‘artist’, Burns is no better or worse than the people who worked on AMERICAN EXPERIENCE and AMERICAN MASTERS series.
One thing for sure, people like Ken Burns now have a decisive advantage over documentarians or visual-memorists like Ross McElwee because it’s still an expensive and elaborate undertaking to make something like CIVIL WAR, whereas anyone can now do what McElwee has devoted his life to. Also, if McElwee was once refreshing in an industry where stars and stereotypes have been favored over true eccentrics(as opposed to cartoonish characters), social networking devices and Youtube have given platform to any number of oddballs around the world. Though most people who record and share their lives on their internet don’t have the knowledge and thoughtfulness of McElwee, they can theoretically do what he’s doing. But without big budgets and close cooperation of institutions, something like a Ken Burns documentary is impossible.


To Be Continued.