Yesterday and the day before yesterday, I was watching a few clips on YouTube of Ridley Scott’s final cuts of Blade Runner. I saw the original one on the big screen in 1982 at the old Cine Tlalpan (there are almost no white people in Tlalpan, but I distinctly remember that the day I watched the film, a young, blond woman had gone to that theatre alone).
I was never a fan of that film.
Recently, in the comments section, I said that Sense & Sensibility (1995) and Pride & Prejudice (2005) should be the favourite films of us priests of the sacred words, because that’s the world we should be fighting for: the world that enthrones Aryan heterosexuality in the sense of culminating the plots of those films with marriages that would breed white kids: a patriarchal world in the sense that the power to reproduce rests with men. (In the crazy feminist world we live in, that power rests with women, which is why Aryans are becoming extinct around the world.)
Those films based on Jane Austen’s novels, written before the psychosis of feminism began, could very well have been filmed in a world where Hitler had won the war.
The abysmal difference between us priests and the American racial right is that the latter, as I said a couple of days ago, are incapable of fully crossing the psychological Rubicon. In fact, many of them love films that repel the priest, as can be seen in the comment threads on Counter-Currents when they comment on movie articles by Trevor Lynch.
Blade Runner should repel National Socialists because, like thousands of films, it is the antithesis of Austen’s worlds. All of contemporary Hollywood, Netflix, and even so-called European art cinema reflect the dystopia of Kali Yuga in its purest form. And don’t tell me that filming dystopias is good for preventing them since Ridley Scott, in one of the Alien prequels, featured a pure Nordid woman fornicating with a Negro, in addition to the sacrilege of using the soundtrack of the aforementioned P&P version for grotesque sex scenes in his recent film about Napoleon.
The vast majority of Hollywood film producers should be executed on the Day of the Rope: passages from Pierce’s novel that I recently quoted on this site. In fact, I’d like to execute even those who like these films, but as Pierce’s character said in the novel, we couldn’t do it because we’d run out of Aryan males! (males who have to impregnate nymphs as cute as Rachael in the film, pictured above). That’s the priest’s dilemma: he wants to exterminate them all, but at the same time he needs their DNA for a renewed, Austen-like world.
Having said all that, I confess there’s a line I love from Blade Runner. The actor played by Harrison Ford invites Rachael to a bar and she, a very refined nymph, tells him “It’s not my kind of place.”
I’d say that about all theatres where movies are shown.
4 replies on “Blade Runner”
I don’t know Blade Runner too well. I think I watched it as a child, but it didn’t make a huge impression later. From what I gather from the trailer it’s filmed with a very grotty, claustrophobic, inner city urban aesthetic, the opposite of the spacious, well decorated, architecturally beautiful ethnostate society we yearn for (or alternatively an Agrarian one). The blue-grey night-time colour palette seems to be both grimy and garish at the same time, exacerbating all those flashing neon lights and otherwise rain and endless smoke and soot. I find it ugly, just as I find the costumes grotesque. I’m not a fan of the sparse dark electronica soundtrack; as I prefer Classical soundtracks in films – not that I watch many films. Also, I notice the writer’s Nordic character (I don’t know his name) played by Rutger Hauer is – I assume – the main antagonist, part of a creeping Hollywood trend of using Nordic or otherwise white actors as ‘bad guys’ in mainstream movies, which seems subversive. I’d have to watch the entire thing properly as an adult, but so far it doesn’t really appeal.
And have you already seen S&S?
The original Blade Runner movie is complex, but is basically designed to make white people accept a dystopia.
Its one of many movies where white people accept their destruction in a scene of noble sacrifice.
The best original online WN movie reviewer was Yggradisil
…………In the 1960’s as the Vietnam war was in progress, we often used to see bumperstickers – typically on Volvo’s in faculty parking lots – which proclaimed “Brahms not Bombs.” Their feeling seemed to be that if only we militaristic heathen would listen to classical music we would all see the light and turn into pacifists.
I knew better. At age 19 I had undertaken my own completely untutored exploration of classical music beginning with Strauss waltzes (the popular music of its day) and then graduating to Bach, Mozart, and Beethoven and Wagner.
And of the particular recordings that I heard, those of Herbert von Karajan and the Berlin Philharmonic seemed the most inspiring. I avidly acquired them.
The music spoke to me. These composers were my people and the feelings that their music aroused in me had absolutely nothing to do with pacifism. Ludwig Van’s glorious Ninth stood head and shoulders above the rest. His music inspired in me visions of all that we in Western Europe could become. It supplied the relentless driving beat and thematic development that bespoke the energy, conflict and sacrifice that would be required to get there.
I did not hear the slightest hint in his work that the trip would be peaceful. After all, fail to survive and reproduce and you are out of the game – forever.
……………………….
True. Before YouTube took down David Duke’s account, he used the scherzo from Beethoven’s Ninth Symphony as an introduction to his videos.
Ever since I saw Blade Runner on the big screen more than forty years ago, I’ve been bothered by the scene where the pure Nordic Roy crushes Tyrell’s eyes (Rydley Scott would return to his disturbing gore with Hannibal, when this serial killer eats his victim’s frontal lobe while the victim is still alive)!
This type of movies never inspire the Aryan race to perpetuate itself, regardless of its artistic level (e.g., the first Alien and Blade Runner). That’s why I call it “degenerate art.”