Those who have read Pierce and Kemp’s books will know of other very dark hours for the white race. But without images or a good novel, like Julian by Vidal, it’s almost impossible to convey what happened with the proper emotions. Since Hollywood is in enemy hands, what is filmed there about the past distorts historical reality to the point of axiological reversal. But the best movie ever made in Russia, Andrei Rublev, transports us to one of these terrible moments as if we were in the cave of the three-eyed raven retrocognitively seeing the historical past. Tarkovsky’s film is three hours long and was shot in black and white:
In the second part of the film, while the Russian Prince is away his younger brother, hungry for power, allies with a group of Tartars and attacks Vladimir. We see flashbacks of the Prince and his brother attending a church service. The non-white invasion of the combined armed forces on horseback and the resulting carnage is shown in great detail. The city is burned, the citizens are murdered and the women raped and murdered.
One scene shows a horse falling from a flight of stairs and being stabbed by a spear. Another shows that a cow is being set on fire. Fomá narrowly escapes being killed in the city and escapes to the nearby countryside, but when he crosses a river he is shot in the back with an arrow and killed.
The Tartars make their way to the barricaded church, now completely decorated with Andrei’s paintings, where most of the citizens have taken refuge. The Tartars show no mercy and slaughter the people inside and burn all the painted wooden altarpieces.
Andrei saves Dúrochka from being raped by killing a Tartar with an axe. The bishop’s messenger is cruelly tortured into revealing the location of the city’s gold. After being repeatedly burned, he has liquid metal from a melted crucifix poured into his mouth and is dragged away tied to a horse.
After that, only Andrei and Dúrochka are left alive in the church. A traumatised Andrei imagines a conversation with the late Theophanes the Greek, mourning the loss of his work and the evil of humanity, while Dúrochka absentmindedly braids the hair of a dead woman. Andréi decides to leave his profession of Orthodox Church painter and takes a vow of silence to atone for his sin due to the idiotic Christian commandment to never kill another man, even if he was a Tartar invader.
In the next film segment, Andrei is once again in the Andronikov monastery while famine and war dominate the country. He no longer paints or speaks but keeps the girl Dúrochka with him as a silent companion. After a few scenes, a group of Tartars stops at the monastery. The blonde Dúrochka is the perfect paradigm of Andrew Anglin’s words that I quoted in On Beth’s cute tits:
What I am ‘claiming’—which is in fact simply explaining an objective reality, based on accepted science—is that women have no concept of ‘race’, as it is too abstract for their simple brains. What they have a concept of is getting impregnated by the dominant male.
This girl, Dúrochka, ignores the atrocities that the Tartars had done in the Russian town and is fascinated by one of the soldier’s shiny breastplates. Still sitting on their horses, the Tartars tease her and play with her, but a soldier likes her, puts on her a horned helmet and dresses her as a bride, and finally decides to take her with him as his eighth wife, the only Russian wife of the non-white Tartar. Andrei tries to stop her from leaving him, but she spits in the face of the miserable Russian monk to let her go with the powerful Tartars. The scene perfectly portrays the mentality of white women but ultimately it is the fault of men like Andrei who, instead of fighting, obey the ‘love thine enemy’ gospel message.
Today in the morning when I went out for a walk to warm my feet on a cloudy day, a revelation came to me about all those scenes which can be seen in the video embedded above from 1:25 to 2:10. Yes: white women of our time are behaving like Dúrochka, jumping on the horse of the mighty: the Allies and Jews who wrote history books after WW2. Otherwise they would be on the side of their ethnic group, which would mean transvaluing all values concerning the Third Reich.
However, what Stalin’s hordes did in Germany is no different than what the Tartars did in the segment linked in the previous paragraph. And none of the main WN authors complains about this on their misleadingly called ‘white nationalist’ websites. That’s why I said yesterday that not even the commenters who visit this site are priests of the 14 words.
For any of them to become a priest, he wouldn’t only have to want to multiply with Aryan girls like the SS booklet I’ve been quoting. In practical terms this means hostilely taking over the State and destroying feminism in a single day through a massive rape of the Sabine women (insofar as today’s Western women are not as decent as the women whose pics appear in the SS booklet I’ve been quoting). See the section in On Beth’s cute tits, linked on the sidebar, where an MGTOWer says that in patriarchy men have the power of sexual reproduction, while in feminist society it’s women who have that power.
It also means founding, in the new extremely brutal ethnostate, a kind of reply to Hollywood’s brainwashing machine by filming the Allied atrocities in Germany and in the forced labour and extermination camps of the Soviet Union, where huge numbers of Germans were deported never to return. No one who doesn’t feel compassion for the slaughtered Germans has the right to comment here, since besides the 14 words I am also a priest of the 4 words.
The Dúrochka-like women in today’s West are simply jumping on the horses of the powerful. And the American and European males aren’t really men but a kind of neochristian monks (see for example what Mauricio recently said about Greg Johnson: a perfect paradigm of today’s ‘white nationalism’). Even their WN websites remind me of Andrei Rublev who, in those apocalyptic moments for Russia, instead of transvaluing Xtian values plunged himself into theological discussions and felt guilty for killing a single Tartar.
Only those who, unlike Rublev, have left Xtian ethics behind will be capable of saving their race.
8 replies on “Best Russian film”
Today I have discovered your blog. I read this article and one by Greg Johnson. I must thank you for your analysis of the film (which I have not seen). It prompted me to read about the director and film itself. What really surprises me is the fact that such a film, which is somehow pro-Christian, was allowed by the Soviet government.
According to the Aryan spirit, Andrei Rublev is a typical anti-hero. Only Christianity can produce a despicable character like him, indifferent to patriotism and honour, without racial awareness and pride. Your observation about the female character as a symbol of today’s degenerate and decadent White women is correct.
There are lots of Rublev-like WNsts who still don’t get it. This for example—:
—was posted yesterday at AmRen.
CT: Your observation is spot on. I visit regularly THE OCCIDENTAL OBSERVER (directed by Kevin McDonald) where there are lots of excellent articles, many of them from a clearly National-Socialist perspective, and yet, even in a place like that, I have found stupid, hateful comments against Hitler or the NSDAP,
Regarding “AmRen” it does not surprise me at all. That website is a meeting point for moronic individuals who enjoy whinging about blacks but would not say a word against the Jews. That should not surprise us considering that their leader, that coward called Jared Taylor, said once (and it is on video) “the Jews are fine with me”. For Taylor and thousands of WN as long as you are White everything is fine.
Is there no good cinema outside the NSDAP Germany? When I was reading the Wikipedia article, I learned that Tarkovsky maimed and killed a real horse for the film! (If I were shooting a similar film, I would maim and kill a living Tartar from Kazan.)
Still, is it actually the best Russian film, praising cucks, priests and impotents? I heard that Alexander Nevsky (1938) gave the Russians the strength to withstand the awesome storm of Barbarossa three fleeting years after release. That seems relevant. Unfortunately, shot by a Jew.
I saw Alexander Nevsky on the big screen and the message is terribly bad, precisely because of what you say (the Soviet equivalent of American Hollywood, monopolized by Jewry).
Regarding what you say about Andrei Rublev, I must tell you the same thing that I told you when you gave your opinion on On Beth’s cute tits without reading it: You have no right to opine unless you see the movie.
I have found other Tarkovsky films lost in empty contemplation with nothing to say, but Rublev is a great portrayal of those times, the ending (in color) showing the four horses is a bit cucked, isn’t it?
What do you think of American films like Ford’s The Searchers and Flynn’s Rolling Thunder, racist against indians and mexicans? About American Westerns, shouldn’t they be showed in an ethnostate? A film like The Ox-Bow Incident is a very solid critic of the folly of Jewmerican democracy.
My favorite Russian film is Dovzhenko and Solntseva’s The Enchanted Desna, but I haven’t watched many and as natalist44 says, most Soviet film big names are Jewish.
NSDAP era film didn’t tackle philosophical questions aside from some Harlan films and traitor Sierck’s La Habanera, it was mostly Aryans living good.
Perhaps you missed the above memo: ‘No one who doesn’t feel compassion for the slaughtered Germans has the right to comment here…’?
I watched ‘Andrei Rublev’ back in late 2017, along with ‘Ifigenia’, ‘Death in Venice’, and others you recommended in your Top 10 list.
The film just wouldn’t be the same if it was in colour. I liked it. It emphasizes the post-apocalyptic atmosphere of the setting.
A sarcastic choice, telling the story of a painter, in a black-and-white world; As I watched, I thought the movie would change into colour in the second half, but it didn’t. (only in the closing shots).
It was like saying “this artist is a fool, his art is meaningless, it will never embellish or bring life to the dying, dreary reality that surrounds him.”
I also remember the scene when the Tartar captain ridicules the New Testament’s mythos after ravaging the church.
Also memorable was the Blacksmith Boy’s Arc, when he bosses around a bunch of peasants toiling away in a hellish furnace to forge a huge bell. In the end, it was all for nothing. Then Rublev comforts him. Two losers, wallowing in the mud without hope. Depressing.