German critics lap up Tarantino's Jewish revenge fantasy

[Stefan Francis]

Originally Posted by Igor Alexander

Yeah, they all moved to the U.S., France, and Palestine.

Yea, I was quite surprised to see some comments that weren't totally skewed toward the 'jew point of view'

and on the Times' site no less...don't you have to pay for the right to post on their site? A couple of shekels right?

[Igor Alexander]

Originally Posted by Stefan Francis

I thought the case was awfully similar to the one in Repo Man... ? Anyone?

Repo Man is one of my favorite movies (kinda weird that you brought it up because I was thinking of it earlier today). I don't recall there being a case in it, though; just the trunk of a car.

[Igor Alexander]

Originally Posted by Stefan Francis

Yea, I was quite surprised to see some comments that weren't totally skewed toward the 'jew point of view'

and on the Times' site no less...don't you have to pay for the right to post on their site? A couple of shekels right?

I submitted a comment. We'll see if it makes it past their censors.

[Stefan Francis]

Originally Posted by Igor Alexander

Repo Man is one of my favorite movies (kinda weird that you brought it up because I was thinking of it earlier today). I don't recall there being a case in it, though; just the trunk of a car.

Yeah it was the trunk of the car wasn't it... Great flick though! You don't see that level of creativity in films anymore. Did you happen to glance Tarantino's top twenty films since 1992? It is a shameful compendium of utter nonsense and drivel.

http://www.iwatchstuff.com/2009/08/q...avorite_mo.php

He has all the poise of a 12 year old jacked up on ritalin.

[Gott]

Just finished some work that was hanging over me and, as a reward, I'll jack off (intellectually speaking) for a while.

Didn't know about the Pelham tie in to R.D. I'm not surprised though. I only know what I know, and that's mostly Auteur things and personal quirks (like Dorothy Lee, for instance - the cutest girl ever, maybe, in the movies - check her out).

In P.F. he had intended the briefcase to be filled with the diamonds from R.D. the same way Madsen and Travolta are supposed to be brothers (Vince and Vic Vega). Then he saw Kiss Me Deadly (where the box is filled with a nuclear reaction which vaporizes the evil bitch who killed to get it. She is too stupid to listen to the warnings not to open it (from the last person she kills) - a neat take on the Pandora's Box idea. Thus the unearthly glow when the P.F. case is opened. I didn't know about the other source. That dance from P.F. is not only a take on The Aristocats, it's lifted from a few other movies too, but also I don't remember which ones. That's how he operates.

I like R.Ds a lot, with the proviso that we live in a really shitty era and the art that reflects it is really shitty. R.D is not self indulgent, it is very clever and it's sensible too. He isn't trying to do anything too difficult and he succeeds almost everywhere in the movie - no pretentious over-reaching.

The big sequence in the middle of the film (which starts with the black police handler and Roth in a diner and ends with them in the same place) where Roth learns how to sell his fake persona and story to the mob, is by far the best thing that Tarantino ever did. It's the only time in any of his movies where I get the feeling that what I'm seeing and hearing actually means something. This huge chunk of the film works both in the narrative context and as a metaphor about/celebration of the craft of acting. It is beautifully structured and organized, is coherent and witty, and takes his cleverness as close to art as he ever came. As I also like acting, I find this part of the movie quite compelling.

It's curious (if that's the right word) how female-centric (?) he has become, what with starting with an all guy movie about all guy issues (probably just another steal from Hawks). The second and third were fairly balanced male/female too, as in Tarantino still remembered that he was a male at that point. Kill Bill, with it's gross female PC crap confused me at the time. I guess it makes sense though, as he has no real mind and can only parrot, and PC is what one parrots today.

Jack Hill (who I learned about from Colin, and who I like quite a lot) works (or worked) the same way, and I always have the same confused reaction. What leads a man to empathize so strongly with woman as to so totally take their side against the male sex - against himself? Weird. Was Hawks the last major filmmaker to openly identify with his maleness and enjoy it without shame or apology? Seems so unless you can come up with someone else.

[Stefan Francis]

Yes! Switchblade Sisters is the movie I referenced this weekend! It was Colin who introduced me to Hill as well, although I did see Coffee in my teens when it was showing on one of the low rent pay-cable channels (Cinemax maybe?).

I just purchased Apocalypse Now Redux and started to watch it last night.... my GOD is Coppola's "epic" a bloated and psychotic self indulgent frag-fest. I can't make heads or tails of it. Killgore, as most everyone agrees, is quite humorous.

[Stefan Francis]

Originally Posted by Gott

Was Hawks the last major filmmaker to openly identify with his maleness and enjoy it without shame or apology? Seems so unless you can come up with someone else.

I think so...although Woo comes close with his "men of honor" movies. Most notably:

A Better Tomorrow
Hard Boiled
The Killer
Bullet in the Head

and to a lesser extent... Better Tomorrow 2, which I guess wasn't entirely directed by Woo...his overbearing producer Tsu Hark helmed that one after Woo left out of frustration.

Full Contact is another Hong Kong action movie that conveys the "men of honor" theme quite well.

Modern male characters lack the conviction seen in films of the past; there is a complete and total absence. Doubt me? Check out Carnahan's 'Smokin' Aces' I defy you to watch it without promptly pushing mute and or flinging the disc out the window.

[EireannGoddess]

Originally Posted by alex revision

German critics lap up Tarantino's Jewish revenge fantasy

Subtitle: 'Inglourious Basterds' is internationally released this week

http://ejpress.org/article/38391


Updated: 21/Aug/2009 10:30

BERLIN (AFP)---Quentin Tarantino's blood-drenched fantasy of Jewish GIs who slaughter the top Nazis, "Inglourious Basterds," dazzled German critics who said Thursday it ripped up the rulebook for World War II films.

Ahead of the film's international release this week, German reviewers were rapturous over the fictitious squad of Nazi killers who stop the Holocaust and take brutal revenge, with some calling the picture "historic" and "important."

Only a handful expressed qualms over Tarantino's trademark gore-splattering, most relishing the cinematic massacre of the Nazi brass including Adolf Hitler by a band of Jewish-American soldiers, led by Brad Pitt, as deeply satisfying.

"'Inglourious Basterds' is brazen, a declaration of war, a pleasure," the normally staid Frankfurter Allgemeine daily said.

"Tarantino shows the Nazis as they really were: a pack of pompous trash -- thoroughly trivial bad guys."

However the paper had a word of warning about Tarantino's larger-than-life Nazis, led by this year's best-actor laureate in Cannes, Austrian Christoph Waltz as a "Jew-hunting" SS psychopath.

"When evil is presented as well and as elegantly as he does, we can easily be seduced by it," it wrote.

Filmed in part in Germany, the picture is according to Tarantino a "spaghetti western but with World War II iconography" that was also influenced by the French New Wave.

"This ain't your daddy's World War II movie," Tarantino has said.

The title of the film was inspired by Italian director Enzo Castellari's 1978 movie "The Inglorious Bastards".

In the genre-blurring tale -- with David Bowie on the soundtrack -- Pitt plays Lieutenant Aldo Raine who heads the squad of Jewish-American soldiers behind enemy lines in German-occupied wartime France.

Aldo tells his men to bring him the scalps of 100 Nazis each, and vows to terrorise the German army with the "disembowelled, dismembered and disfigured bodies we leave behind us."

A parallel storyline involves a Jewish woman bent on revenge after seeing her entire family being wiped out by the Nazis.

Hitler, Goebbels and top Nazi henchmen appear in the movie which culminates in an outlandish plot to take out the German leadership at the Paris premiere of a Nazi propaganda film.

"Tarantino manages to create great cinema with his cheeky historical concoction -- despite using actual historical figures from Hitler to De Gaulle, he made nearly everything up," the Financial Times Deutschland wrote.

"Because, unlike 'Pulp Fiction' or 'Kill Bill', only the evil are massacred, the audience cheers the violent scenes with gusto," it said in a review headlined "Kill Hitler".

"This isn't camp, it isn't pulp -- you miss the point using such categories with Tarantino -- but rather a vision never before seen in the nearly exhausted world of cinematic images," the Berlin daily Tagesspiegel wrote.

"It took 65 years for a film-maker, instead of bringing Germany's evil 20th century history to life once more to have people shudder and bow before it, to simply dream around it. And to mow all the pigs down. Catharsis! Oxygen! Wonderful retro-futuristic insanity of the imagination!"

Munich daily Sueddeutsche Zeitung said its readers "must" see the picture, and offered favourable comparisons with this year's "Valkyrie" a Tom Cruise vehicle about a failed 1944 plot against Hitler.

"Regardless of whether you then love or hate the film, your reaction will not be lukewarm. There is so much in it to discover," it wrote.

"More than horror, Tarantino fears the conventions that have long surrounded the Nazis and the Holocaust -- these leaden, sepia-toned suggestions of authenticity that a film can never really live up to.

"Tarantino throws gasoline on the fire of the Nazi film to create the big bang to clear the way. A crazy idea. So crazy that it might just work."

So, in other words, the jews are trying a new tactic - Make a violence filled "futuristic" comedy out of their Hoax. They tried it once before, remember the play and movie, The Producers and that song "Springtime for Hitler". It was a flop due to the jews trying to perform their notion of Aryan comedy.

This Tarantino garbage is much more their style, jewish flight of fancy that includes violence against Aryans, and a sort of slapstick take on their hatred of our Folk. They get away with nothing, the obviousness is so jewish.

At least this time, when we decide it's time to round them up again and put them to doing something useful in our own "futuristic" work camps, we can invite them to stadia to watch and review both this film and their other latest effort, "Valkyrie" and transport them from there.

[Gabry Ponte]

Originally Posted by Duke Mitchell

Tarantino boasted in an interview how he didn't do any research about WWII for the film and that he knows very little about WWII outside of what he has seen in other movies and on TV, (even though he is making a million dollar nation wide film about it).

He was actually bragging that he doesn't know anything about real WWII history.

Yet people will watch his movie and believe it is straight out of the history books.

(He also gave the required "I'm white, but not white" line about he himself being of partial Cherokee ancestry -- Yeah, right. A regular Geronimo you are, buddy. )

Exactly! That is the lemming factor. America has a monopoly on that.

[Gabry Ponte]

Originally Posted by Igor Alexander

Hopefully one day The Turner Diaries and Hunter will make it on the silver screen.

There are so many great WWII stories to be told from the German side that I am surprised nobody has made any yet. I mean ones without a political agenda. I wanted to see a film about Otto Skorzeny. You should read his book about his life. Amazing man with amazing life story. The stupid Arabs could have financed countless anti-jew films with big budgets but for some reason they haven't yet. They could buy hollywood studios. Saudis have money. Atleast they could have made a movie about the creation of Isreal and its illegal occupation of Palestine. But Arabs are emotional children. Only the "terrorists" seem competent. The others can't even run their own countries right.

[Stefan Francis]

Originally Posted by Gabry Ponte

There are so many great WWII stories to be told from the German side that I am surprised nobody has made any yet.

George Tsouras... 'Fighting in Hell: The German Ordeal on the Eastern Front"

Man that would make an excellent flick. Panzers and Waffen just laying waste to the red virus! Think about it !

[Gabry Ponte]

Originally Posted by Stefan Francis

George Tsouras... 'Fighting in Hell: The German Ordeal on the Eastern Front"

Man that would make an excellent flick. Panzers and Waffen just laying waste to the red virus! Think about it !

And the Epic struggle of the Hitler Jugend. I read a great book about them with Kurt Meyer. Amazing heros.

[N.B. Forrest]

Originally Posted by Igor Alexander

Hopefully one day The Turner Diaries and Hunter will make it on the silver screen.

If so, it will hopefully be without a lot of the long-winded, implausible dialogue found in those books. Dr. Pierce had a great way with words in his weekly broadcasts, so it's surprising it didn't carry over into the books.

[Gott]

There are quite a few NS era films available in DVD now. In the USA go to: http://www.ihffilm.com/
They have lots of German newsreels and a fair number of narrative films. Few deal directly with the war, but all reflect a dominant ideology which is, to put it mildly, world's removed from our own.

I recommend a number of these films as just plain good movies which don't insult the intelligence of a thinking adult, and as a breath of fresh air ideologically. The Great King is excellent, The Young and Old King is also excellent, and also harrowing, Kolberg is not so hot in a lot of ways but most impressive in production values ....plenty of other very good ones too. In just looking at their site, I see that a number of DVD's that I have from them are no longer listed....so if you see something that sounds interesting, best buy it quick.

Some of these movies are really good - they are not aimed at infantile retards and they don't work to dumb down the viewer. For the most part, NS era narrative films are for thinking adults. Technically polished too, again, for the most part. Picture quality is iffy on some, and read the small print as quite a few of their titles are in German only - no English subtitles.

If you have all region DVD players, go to Amazon Germany - lots and lots of NS era films, but mostly the lighter ones - the serious movies are still banned in occupied Deuthschland.

[Robert Bandanza]

http://vnnforum.com/showpost.php?p=1041521&postcount=3

[Igor Alexander]

Originally Posted by Igor Alexander

SS Experiment Love Camp showed up on the shelves on my favorite local video store last year. This is a chain store that carries mostly mainstream titles, not a specialty store. When I went in there two or three weeks ago, they had added a few more of these Nazi sexploitation movies, so I have to assume they're popular.

Who rents these movies, anyways? Jews? There are a lot of jews in my neighborhood and I wouldn't be surprised if they were the ones renting them.

I wonder what a psychoanalyst would have to say about jews who rent these kinds of movies. Maybe the holohoax was a mass jewish sexual fantasy?

An article from Wikipedia about "Stalag fiction":

Stalag fiction
From Wikipedia, the free encyclopedia

Stalag fiction was a short-lived genre of Israeli fiction Nazi exploitation that flourished in the early 1960s, at the time of the Eichmann trial.

Premise

Purported to be translations of English-language books by prisoners in concentration camps, these books were highly pornographic accounts of imprisonment, generally of Allied soldiers, sexual brutalization by female SS guards, and the prisoners' eventual revenge, which usually consisted of the rape and murder of their tormentors.[1] The books, with titles like I Was Colonel Schultz's Private Bitch, were especially popular among adolescent boys, often the children of concentration camp survivors.

History

The books emerged from the culture of silence that surrounded the Holocaust, especially in Israel, until the Eichmann trial. Many young people lived in the shadow of these events, but could find no answers to their inevitable questions, whether from their parents or their teachers. For most of adolescents, the only answers they could find were in the book The House of Dolls (1955) by K. Tzetnik, a then-anonymous survivor of Auschwitz who wrote about women prisoners forced into prostitution by the Nazi guards—his book was later alleged to be a work of fiction. Nevertheless, it had an impact on young Israeli males as they went through puberty: questions of identity and their parents' violent past melted into their emerging sexual identity, often fostering graphic S&M fantasies.[citation needed] This became more prevalent during the highly publicized Eichmann trial, when these same young people were exposed to detailed descriptions of the concentration and death camps for the very first time. K. Tzetnik himself was one of the witnesses who provided graphic testimony during the trial.

Exploiting these trends, a group of Israeli publishers began to publish dime novel-format memoirs, describing abuse, particularly sexual abuse, in the concentration camps. Sold in magazine kiosks, the novels, ostensibly first-person memoirs, became best-sellers. According to filmmaker Ari Libsker, "the Holocaust pictures that I saw, as one who grew up here, were of naked women."[2] These had a marked impact on an otherwise puritanical society, and the books quickly became bestsellers.

They disappeared almost as quickly as they appeared. Within two years of the appearance of the first publication, the publishers were accused by an Israeli court of distributing pornography, and the books were discontinued. Although still available underground, certain titles earned the ire of the establishment, and efforts were made to find and destroy them.

In 2007, the genre re-entered public debate in Israel after Israeli filmmaker Ari Libsker featured the books in a documentary film, Stalags.[3]

I think -- and I'm not joking when I say this -- that the reason jews generally behave like such rotten assholes is because deep down, they're really a bunch of masochists who crave abuse. How do you punish a masochist? By refusing to punish him?

[Bassanio]

I think -- and I'm not joking when I say this -- that the reason jews generally behave like such rotten assholes is because deep down, they're really a bunch of masochists who crave abuse. How do you punish a masochist? By refusing to punish him?

Otto Weininger observed:

Greatness is absent from the nature of the woman and the Jew, the greatness of morality, or the greatness of evil. In the Aryan man, the good and bad principles of Kant’s religious philosophy are ever present, ever in strife. In the Jew and the woman, good and evil are not distinct from one another ... It would not be difficult to make a case for the view that the Jew is more saturated with femininity than the Aryan, to such an extent that the most manly Jew is more feminine than the least manly Aryan.

http://en.wikipedia.org/wiki/Otto_Weininger

Like women, Jews are very feminine, and like women, they are very masochistic.


Weininger hated being a hideous, effeminate jew dwelling amonst beautiful, masculine Aryans. But instead of joining his parasitic tribe in destroying the Aryan ethos, he chose to preserve it by taking his own life at the age of 23.