Marlon Brando (right) and Al Pacino as Don Vito and Michael Corleone.
It could be said that in recent times I have taken my vows as a priest of the sacred words, in the sense that being an NS ideologue after 1945 implies constant activity for the cause, and never allowing myself to burn out, and I plan to live like that until death parts me from this world.
But more than an act of will, when one begins the lifestyle of a true NS (which to distinguish it from the pre-1945 Germans I call the priesthood of the sacred words, after the priestess Savitri Devi) the mind begins to metamorphose.
I have often said that when I was younger I wanted to be a film director. And indeed, I have seen a lot of cinema over the decades. But when I heard about the West’s darkest hour, in the sense that it occurred to the Aryan to commit ethnic suicide because of what I said about the new Sacrificial Lamb at midnight, my taste for the Seventh Art began to change. Films I had loved I began to see as containers of very bad messages: part of the brainwashing process to convince the Aryan to immolate himself.
When I took my vows, so to speak, I began to realise not only that I was beginning to detect those bad messages, but that I could no longer enjoy almost any film in my DVD collection, to the extent that I recently gave my nephew my big TV, where I used to watch films. I did this because a lot of times it occurred to me to go through the titles of my DVD collection and, to my surprise, I didn’t feel like watching almost any film again.
At the time of the COVID-19 epidemic, a European asked me what my favourite films were at the time, and I made a list of fifty of them. A few years later I can no longer watch most of them! It’s amazing how taking vows gradually, but forcefully, changes a priest’s tastes.
But given my past fondness for cinema, and that I spent so much time watching films and thinking about them, it occurs to me that I could start writing short reviews of each film on my list of fifty. But I’d like to start with one that doesn’t appear on the list, The Godfather.
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Once upon a time in the US the Western was the favourite film genre for family consumption, but with time it was replaced by the mob story as the central epic of America. The Godfather is considered the best film of this genre. Some fans of American cinema even consider it the best film made in that country, even ahead of Citizen Kane. Well, below we see a brief review from the point of view of National Socialism, or rather, the POV of the priest of the sacred words.
Taking into account what we say in this post about transvaluation (‘L’art pour l’art’ values must be transvalued to Art practised in conformity with the cultural task), the message of The Godfather couldn’t be more wrong. Michael Corleone is the antithesis of what the hero of an Aryan lad who goes to the movies to have fun should be. In fact, the fictional Michael Corleone is an enemy of the sacred words. There is a scene in which the capo Clemenza teaches Michael how to shoot and casually tells him that Hitler should have been stopped before the time when the Allies finally stopped him. Remember that the film opens in 1945, when Michael is dressed in a soldier’s uniform at his sister’s wedding because, decorated, he had just returned from fighting the Germans!
That alone would be enough to ban The Godfather in an ethnostate emerging in North America. But it doesn’t end there. Francis Ford Coppola, the director, is Italian-American and his film will represent the interests of his ethnic group, not those of the Anglo-Germans who originally conquered and populated the US (see e.g., what I wrote ten years ago about The Godfather Part II). In an ethnostate that imitated the Third Reich only the Nordics, or fans of the Nordics (say, like me), would be allowed to practice art in conformity with the NS task. It is absurd that someone who represents the interests of another ethnic group should have cinematic power over the youth of Nordic stock, and this is even more so in the case of the Jewry that dominates Hollywood.
As you can see, from this angle the reviews that I could write about American cult films are the antithesis of what Trevor Lynch (Greg Johnson) does in Counter-Currents. But as we have said many times, from the NS POV white nationalism (WN) is intellectual quackery for people stuck in the middle of what we here call the psychological Rubicon (cf. my featured post, ‘The River Nymph’).
There are many other things I could say about the Godfather trilogy. For example, Moe Greene, who is shot in the eye by Michael’s triggerman at the end of the first film while being massaged, in Mario Puzo’s novel is a Jewish gangster. So in the sequel Michael’s rival, the Jew Hyman Roth, wants to avenge him. In other words, for political correctness in the Godfather trilogy the tension between the Italian-American mafia and the Jewish-American mafia is more or less disguised.
I was also annoyed, but this is natural since the director is Italian-American, that the viewpoint of the family of Kay Adams Corleone, Michael’s second wife, a pure Aryan, was one hundred per cent absent. If one compares her with the Sicilian Apollonia Vitelli Corleone, Michael’s first wife, one can see the difference between a Mediterranean and a Nordic.
Keep in mind that when the SS invaded the USSR, the commanders were careful that the young soldiers didn’t marry mudblood women (remember: when we were young we thought with our cocks, not with our heads!). That distinction between Meds and Norsemen has been lost on many contemporary racialists because, I reiterate, WN is virtually intellectual quackery.
These brief words give an idea of what, in forthcoming posts, I will do with most of the 50 films I used to recommend a few years ago. When the priest fulfills the revaluation of art (‘L’art pour l’art’ values must be transvalued to Art practised in conformity with the cultural task) there is very little art to rescue—and much art to repudiate!