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by Trevor Lynch
Quentin Tarantino's Inglourious Basterds [sic, sic] has
been hyped as World War II action movie-cum-sadistic gorefest.
In reality, it is a self-indulgent snorefest. I thought I
would need a gin and tonic before I went in, but it turns
out what I needed was a cup of coffee. Yes, there is some
gore and sadism, but frankly I found myself hoping for
more of it. Anything, really, to relieve the sheer
This is Quentin Tarantino's worst movie, and that is
saying a lot, given how bad Kill Bill, vol. I is. Pulp
Fiction was Tarantino's Citizen Kane, and it has been The
Magnificent Ambersons ever since. If you find this review
entertaining, let me assure you that it is far more
entertaining than the movie itself. Nothing here should
be interpreted as encouragement for you to waste your
time and money on this preposterous and dull film.
Inglourious Basterds is about a team of American
terrorists, consisting of seven Jews led by a gentile,
Aldo "the Apache" Raine (played by Brad Pitt),
who hails from Tennessee and claims to be part American
Indian. The character is clearly based on Tarantino
himself, since he too has an Italian name, hails from
Tennessee, and claims to be part Cherokee. The mission of
the Basterds is to terrify the Nazis by killing them in
the most sadistic manner possible and mutilating their
corpses. The dead are scalped. The survivors have
swastikas carved in their foreheads.
Holocaust narratives are filled with tales of thousands
of Jews herded to their doom by relative handfuls of
Germans and their collaborators. Although this sheep-like
behavior seems rather unlike the hyper-aggressive and
unruly Jews of my acquaintance, most people accept it at
face value and then wonder: What was wrong with these
people? Why didn't they fight back?
Tarantino has asked the same question, and Inglourious Basterds
is his answer. During WW II, the Jews needed the
leadership of someone like Aldo the Apache, a mostly
white man with a bit of red savage mixed in, just like
the people who have churned out six million holocaust
flicks need to take direction from Quentin Tarantino.
With Tarantino in charge, the war would have had a very
different end, and Inglourious Basterds shows us how.
Should Jews be insulted by this premise? Of course they
should. But the movie itself is far more insulting still.
Indeed, this is probably the most anti-Semitic movie ever
released by Hollywood. Tarantino's Jewish characters are
one-dimensional, inhuman monsters. The Jewish Basterds
are all as ugly as Der Sturmer cartoons. They have
virtually no lines in the entire movie. All they do is
skulk around, waiting for Aldo the Apache's commands to
murder and torture Germans.
The most prominent of the Basterds is played by Eli Roth,
just another degenerate Jewish director of repulsive
horror films. Roth plays the "Bear Jew", who
beats Germans to death with a baseball bat. He is the
funniest thing in the entire movie, with his pouting,
prissy mouth, drag queen makeup, and shiny brilliantined
coiffure. Roth's large, hairy body (anybody can take
steroids) looks menacing until one hears his high,
hysteria-edged voice. There was laughter in the audience
every time this castrated gorilla opened his mouth on
Too shallow to realize that he was playing a monstrous
buffoon, Roth really got into the role, praising Inglourious
Basterds as "kosher porn" (is there any other
kind?). He really gets off on fantasies of killing Nazis:
"It's almost a deep sexual satisfaction of wanting
to beat Nazis to death, an orgasmic feeling. My character
gets to beat Nazis to death. That's something I could
watch all day. My parents are very strong about Holocaust
education." They sound like lovely people, and I am
sure they are really proud of what a successful boy Eli
turned out to be.
Other Jews were equally smitten: Tarantinos
producer, Lawrence Bender, told Tarantino, "As
your producing partner, I thank you, and as a member of
the Jewish tribe, I thank you, motherfucker, because this
movie is a fucking Jewish wet dream." Harvey and Bob
Weinstein, the film's executive producers, also
reportedly enjoyed the film's theme of Jewish revenge.
Tarantino also reported received uniformly positive
reactions from his Jewish friends: "The Jewish males
that I've known since I've been writing the film and
telling them about it, they've just been, 'Man, I can't
fucking wait for this fucking movie!" he told
me. "And they tell their dads, and they're like, 'I
want to see that movie!'."
If all these Jews have no objection to their tribe being
portrayed as one-dimensional vengeful sadists, who am I
to complain? Perhaps the shoe fits.
The most prominent Jewish character in the movie is the
blonde-haired, blue-eyed Shoshanna (played by Mélanie
Laurent), the daughter of a Jewish dairy farmer (that got
the first laugh of the movie). Her family is massacred in
1941 by the SS, and somehow she turns up a few years
later with an assumed French identity running a movie theater
in Paris with her Negro lover. When her theater is chosen
to premiere a new German movie in the presence of Hitler,
Goebbels, Goring, Borman, and other leading Nazis, she
plans to bolt the doors and burn the place down as an act
Shoshana is a character of reptilian inhumanity. A young
German, Frederick Zoeller (played by Daniel Brühl) is
obviously smitten with her. A film enthusiast, he tries
to strike up a conversation about movies. The contrast
could not be clearer. He is warm, sincere, and polite. He
sees her as a fellow human being and a fellow film-enthusiast.
She sees him only as a racial enemy. She takes no
interest in him until she discovers that he is both a
film star and a war hero, which she thinks she can use to
her advantage. (He does not reveal these things to her
initially, for he does not merely wish to impress her,
but to befriend her.)
Her only flash of human emotion comes at the end of a
scene in which she meets the SS man, Standartenführer
Hans Landa (Christoph Waltz), who murdered her family,
but it just heightens the impression that she is a cold-blooded
master of deception and intrigue.
Shoshanna's inhumanity is heightened by comparison to Uma
Thurman's revenge-driven character "The Bride"
in the Kill Bill movies. The difference is not just a
matter of who played the role (although Tarantino decided
that as well) but of how the actresses were directed.
Hans Landa claims that he is effective at hunting Jews
because he knows how they think. The meaning of this is
made clear at the end of the film, when he turns out to
be a traitor.
The Allies do not come off much better than the Jews.
Aldo the Apache is the only American. He is a loud-mouthed,
sadistic, duplicitous jackass with a hillbilly accent.
Brad Pitt plays him for laughs, and he is genuinely funny.
There are three Britons: the handsome German Michael Fassbender
as film-critic Lt. Archie Hicox, Mike Myers as General Ed
Fenech, and the wreck of Rod Taylor as Winston Churchill.
The first two come off as effete wankers, and Churchill
might as well be Jabba the Hutt.
All of this is in strong contrast to the portrayal of the
Germans, even the German traitors. First of all, they are
mostly quite good-looking and sexy. (As Jew Mark Steyn
pointed out, nobody fantasizes about being tied up and
raped by a liberal democrat.) Second, they are dignified,
charming, and polite with strangers; warm, playful, and
fun-loving among friends. Even though the Germans are
supposed to be the bad guys, they are the only people in
the film with whom most white people can readily identify
themselves. This means that white audiences can only feel
revulsion at the sadistic Jews who murder them.
Hitler, of course, is portrayed as a monster. He first
appears wearing a cape, which is appropriate, since he is
played as nothing more than a comic book villain. (Martin
Wuttke is surely the ugliest Hitler ever.)
Goebbels, although he is portrayed as somewhat arrogant (like
a film director, perhaps), comes off overall as warm,
sincere, playful, and even a bit lovable(!). Tarantino
has obviously immersed himself in German films of the era,
and it is clear that he has some admiration for what Goebbels
accomplished. (In a scene set in England, it is stated as
plain fact that Jews run Hollywood, and Goebbels is given
credit for giving them a run for their money.)
The true star of the film is Christoph Waltz, whose
portrayal of Hans Landa is absolutely riveting. He is
such a magnificent character that Tarantino had to turn
him into a traitor in the end, otherwise he would be the
true hero of the film as well.
The other star is Daniel Brühl who Frederick Zoeller,
the young war hero who becomes smitten with Shoshanna.
His character is the most likable and most tragic of the
Now let's examine the climax of the movie. I have no
qualms about giving it away, since I don't want any of
you to see it anyway. Shoshanna hosts the premiere.
Hitler and all the top Nazis come to the theater. She
splices her face into the fourth reel of the film. Once
the fourth reel is playing, her Negro lover bars the
doors to the theater. Suddenly, Shoshanna's face appears
on the screen: "This is the face of Jewish vengeance!"
she screams, while the Negro sets the building on fire.
The kindling he uses are movies printed on highly
flammable nitrite film.
Meanwhile, two of the Jewish Basterds (including the
preposterous Eli Roth), who have infiltrated the theater
without knowing of Shoshanna's plot, run amok with
machine guns, killing Hitler and Goebbels and other Nazis.
The theater then explodes. Everybody dies, Jews and
Germans alike. Götterdämmerung.
The climax of Inglourious Basterds is obviously based on
the Oscar night massacre in neo-Nazi Harold Covington's
novel The Brigade. If you don't believe me, read
the novel for yourself.
The symbolism and the message could not be clearer: Jews
use movies and movie theaters as tools to destroy their
enemies. And since the white people in the audience can
most readily identify with the Germans, the message gets
through: the Jewish movie business is a tool of hatred
and vengeance directed against all white people.
Why would Quentin Tarantino make a movie about World War
II in which Germans are portrayed as attractive human
beings, Americans are portrayed as sadistic buffoons,
Englishmen are portrayed as effete wankers, and Jews are
portrayed as cold-blooded, inhuman mass murderers?
Why would Quentin Tarantino borrow plot elements from neo-Nazi
Harold Covington's The Brigade to craft a
climax for his movie? Why would he use that climax to
expose the true anti-white agenda of Hollywood?
Is Quentin Tarantino a Nazi-sympathizer?
Of course not. Nothing could be further from the truth.
Quentin Tarantino is simply a nihilist with an unfailing
instinct for finding and desecrating anything sacred. In
Pulp Fiction -- his one great movie, and his most sincere
-- Tarantino showed a profound grasp of the spiritual
meaning of the duel to the death over honor, symbolized
by the Samurai sword.In Kill Bill, vol. I, he made a
giant joke of it.
In Inglourious Basterds, Tarantino has taken the one
truly sacred myth in modern Jew-dominated America --
especially in modern Hollywood -- namely WW II and the
holocaust, and he has desecrated it by inverting all of
its core value judgments and reversing its stereotypes.
In the process, he has exposed the true anti-white agenda
of Hollywood. Why? Just because he can.
The fact that Quentin Tarantino could desecrate the
holocaust, expose Hollywood's agenda, and sell it back to
Hollywood's Jews is a testament to his twisted genius and
their shallowness and moral imbecility.
I wish Inglourious Basterds were a better movie, since I
think that many white people would benefit from seeing it.
Yes, the explicit message is that it is good for Jews and
their hillbilly dupes to sadistically murder Germans (and
any other enemies of the Jews, for that matter). But the
largely white audience with which I saw the film did not
seem terribly comfortable with this message.
Yes, they found Brad Pitt funny. He really was funny. But
the sadism directed at Germans did not amuse. In the last
scene of the film, where Aldo the Apache graphically
carves a swastika in the forehead of Hans Landa and
pronounces it "my masterpiece" -- pathetically
enough, this is probably Tarantino's view of the film --
there was no laughter.
For the subliminal message was coming through loud and
clear: we are all Germans now, and every time we turn our
eyes to a movie screen we are seeing the face of Jewish
by Robert Leverant
A big event is happening.
A world event is happening!
A cosmic event is happening:
The sun is going down.
The sun is going down
& no one is watching!
Everyone is watching TV.
Around the globe, humans are inside
watching sexy ads for War, Inc.
The Shock & Awe Show featuring
pornographic bombardments of cities
under a pitch black night sky: Fallujah.
away, viewers hypnotized
Winter normalized --
on TV by hawks in uniforms
Press the Pause button. ... will you please?
I'm going outside. I yell to my family,
& then under my breath, To watch the sun go
I think to myself, My precious day!
soon gobbled down like the sun by the ocean.
at my side, stealing a day here
& a day there.
What do you suppose would happen
if you shut off the damned TV?
came outside with me, I yell.
take a look at the evening stars!
I see the first night star & make a wish.
for PEACE, LOVE, COMPASSION, MORALITY, SECURITY.
"Agitated minds of humans are calmed by ritual
in the vast expanse of the night sky," said Lao Tzu
some 2600 years ago. War or no wars this is so.
I merge my mind in the vast
& intimate ocean of the night sky,
waves of love, awareness & contentment
pacify my heart & my agitated mind
is no where to be found
in the Great Silence inside me
love the stars
Then help STOP the militarization of space
by normal men & women like my family,
TV & laughing
a nuclear holocaust of an enemy city.
road, black rain
winds blow the radioactive dust our way