Today I was about to continue translating the preface to the most authoritative edition of Uncle Adolf’s monologues when I came across this recent paragraph by Kevin MacDonald on the film The Northman:
The deep question is how such a violent, hierarchical culture developed eventually into the highly egalitarian Scandinavian cultures we see today. My short answer is that the Indo-Europeans dominated a far more egalitarian hunter-gatherer majority and that the latter eventually came to dominate the area—a theory spelled out in Individualism and the Western Liberal Tradition.
It occurred to me that that paragraph alone merited saying that Scandinavian cultures today are betrayed by the malware bug of neochristian ethics, and especially by the ravages of civilisation and even more so the bourgeoisie lifestyles. Remember the essay in On Beth’s Cute Tits (pages 103-107) where the author compares the Yang culture of the chimpanzees with the yin culture of the bonobo apes. The yin empire of the new totalitarians in Scandinavia is a result of the brave new world (also remember Bolton’s essay on Yockey).
But before posting my reply to MacDonald, I thought I’d better go and see the film, which I did; especially since several pundits on racialist forums have been speaking out about this American-British drama, directed by Robert Eggers: a Viking story set in early 10th century Iceland.
Even before I had finished watching the film a few hours ago, I told myself that it wasn’t good, despite the critics’ acclaim. Anyone who wants to preserve the Nordic race can only see in The Northman one of those typical American films with a huge series of strident scenes: the kind of stridency that has become very fashionable in recent decades, a truly degenerate cinema.
Given that the American director wanted to do something different and has complained that pro-white advocates have become enthusiastic about TV series about Vikings, that should be enough to make us realise that we are dealing with an ethno-traitor. In Eggers’ film we see the Berserkers burn a Russian village hut with women and children inside at a time when, apparently, these Russians were still as white as the Berserkers; and before that expedition they killed, as if they were just serial killers, a father and son who were travelling on a ship very close to theirs.
I am no expert on the history of the Berserkers, but if these two scenes aren’t based on accurate historical facts, the film represents a Black Legend against the Vikings: part of the ongoing media defamation of the untainted white world of yore with a drop of mud blood. I also found the role of the ‘Viking’ bitch played by Nicole Kidman, a mother who is killed by the main protagonist, to be a smear on real Viking motherhood.
The Northman is pure Hollywood when we get to the love affair between this protagonist and a slave girl played by the same actress from Netflix’s The Queen’s Gambit. Given that both the protagonist’s behaviour with his mother and his blonde mistress isn’t based on historical fact, but on Hollywood dramatization, I am surprised that those who claim to defend the memory of the Northmen fail to see these distortions.
In fact, a priest of the fourteen words shouldn’t go to the movies. As I said, I made the exception because of the film reviews not only in The Occidental Observer but in other important racialist forums. Of the movies filmed in the present century, I would only recommend Artificial Intelligence (2001), the first Lord of the Rings (released the same year), Pride and Prejudice (2005), Apocalypto (2006) and Spotlight (2015), although the opening scene of A.I. contains a bad message. The fourteen-word priest must be a purist when it comes to raising pure Scandinavian children, like the child actors who appear in The Northman.
This image is not from the film that can currently be seen in the theatres of Gomorrah. Anyone who wants to learn about the Berserkers from the pen of a white supremacist should read pages 453-477 of The Fair Race’s Darkest Hour. Unless you have superhuman kidneys to filter the good from the bad, it is a blunder to watch the propaganda of the cinema billboard.