I’m forever fascinated by the clever tricks and techniques adopted by Hollywood and the media to manipulate us and direct our thinking. World War 2 and everything related to Nazis and Jews is Ground Zero, it’s the foundation upon which a new moral framework has been built. The sacred 6,000,000 were sacrificed on the alter of European racism and hate in order that Europe could be reborn, a Europe which would become a shining beacon of humanitarian ideals and anti-racism.
The You Tuber Rob Ager whose analysis and deconstruction of movies I’ve admired for years, has come up with an absolute masterclass in his latest on Saving Private Ryan, directed of course by (((Steven Spielberg))). It’s worth noting that Rob is something of a ”normie” and seems to recognize he’s on some shaky ground here as far as his subscribers go, he explains at length that his analysis of Saving Private Ryan is not an apology for Nazism, he’s simply explaining the insidious and rather grotesque manner in which Hollywood has demonized Germans in the film, and make no mistake, it is Germans rather than ‘Nazis’.
To summarize briefly, here are some of the tricks used by (((Spielberg))) and (((Hollywood))) to mold your thinking on World War 2 and the Germans in Saving Private Ryan:
1. German soldiers die instantly wherever they are wounded and they never cry out in pain because that would garner sympathy from the audience.
2. American soldiers are routinely depicted being blown to bits while writhing in agony or screaming for their mothers in order that the viewer empathizes with their suffering.
3. Ager cleverly points out that if you overlay the music from a cartoonish barn burner movie such as Rambo, Saving Private Ryan, the supposed masterpiece, is almost identical, in fact, the ”gooks” blown away by Rambo suffer more and are allowed more sympathy from the director than Spielberg has for the Germans, even though Saving Private Ryan is supposedly a realistic portrait of conflict.
4. The Germans are routinely depicted as cowards who surrender even when they outnumber the Americans. No Americans ever surrender.
5. The one German of the movie who is allowed to become an actual character is a liar, coward and traitor (of sorts) in that the compassionate Americans spare him and he returns to shoot them while they’re unarmed. The message is, never allow a German to live because they’ll return and kill you.
6. There are no subtitles for the Germans speaking in the movie thus compounding their ”Otherness” in the eyes of the audience.
7. At the stage of World War 2 depicted in Saving Private Ryan the German army was outnumbered by more than 3-1, yet in (((Spielberg’s))) film the Germans are always shown as outnumbering the Americans in numbers and raw firepower. Spielberg does this by concentrating only on one American platoon without tanks or air-cover or any kind of reinforcements at all(?). The Germans are depicted as having the upper-hand whether they are ambushing or being ambushed.
8. The famous opening scene of the movie does not show the colossal and overwhelming amount of air support bombing the German defences, instead, well defended Germans simply mow down thousands of Americans who can’t escape.
9. Spielberg’s camera never focuses on a German soldier’s face during battle because we aren’t allowed to know their emotional state. They’re simply robots.
10. When German soldiers surrender (((Spielberg))) puts a smoking gun in the centre of the shot, the purpose is to subconsciously remind the audience that the gun has just been used to kill Americans and that they should not feel sorry for the surrendering German soldier. This same trick is used whenever piles of dead German bodies are shown, front and centre is a smoking machine gun, that weapon killed our boys!.
11. Even the hairstyles of the opposing armies are cleverly thought-out, the Americans have longer hair rendering them more gentle and humane in appearance, all the Germans have shaven hair, they’re literally skinheads!
12. The German soldiers are older and far more weathered and intimidating in appearance than the seemingly cherubic American army. Tom Hanks character is the most senior of the American platoon, he’s in his late 30’s or early 40’s, yet all the Germans soldiers are shown as being of the same age. As Ager points out, at this stage of the war the German army was largely comprised of 16 and 17 year old boys drafted in from the Hitler Youth. But of course, (((Spielberg))) isn’t about to show us terrified young boys being bombed.
13. The original 1994 script had many elements which made the Germans appear more ‘human’. A German was killed and a photo of his girlfriend fell from his jacket, another showed a picture of his mother and another German had a dog which he tried to shield and protect from the bombs and gunfire. In yet another scene a dead German had a teddy bear with him, presumably for a child, so the Americans had shot dead a loving father. (((Steven Spielberg))) threw all of these humanizing and sympathetic quirks out when he took over the production.
14. Also related to the change of script but even more significant is that the original script divided rank and file German soldiers from the more ideological side of National Socialism, the higher ranking officers were true Nazis, the lower ranking soldiers not so much. It’s important to think about this from a ‘normie’ perspective and not a nationalist or Alt-Right one, the point is, (((Spielberg))) made a decision to lump all Germans in as true Nazis and therefore worthy of extermination in the eyes of a mainstream audience.
15. Throughout Saving Private Ryan German soldiers are shot while fleeing, burned alive in bunkers and shot (with jokes) while trying to surrender. This is particularly shocking because as we have seen, (((Spielberg))) has done everything he can to dehumanize the Germans, so the only conclusion we can draw is that his movie actively promotes war crimes against Germans!.
The Good War?
A passing liberal might point out that Hollywood, “being American”, will always act as a pro-American propaganda outlet, that America’s enemies are always demonized and its soldiers always portrayed as saintly warriors fighting for a just cause. But this is far from the truth, Hollywood, which is of course almost entirely Jewish owned, has a distinct and overriding liberal bias in war movies as in almost everything else it creates. The moral and ethical tone of the standard Hollywood war movie is one of ”The Horror of War” and Saving Private Ryan certainly has more than enough horror and gore, but only when it is inflicted upon Americans, the Germans deserve it.
Given that (((Spielberg))) is highly regarded and that his movie is considered ”realistic” and ”serious” it’s fair to compare it to other movies where the American army is deployed against different enemies. Consider, for example, this scene from Oliver Stone’s Platoon:
Or in Kubrick’s highly regarded ‘Full Metal Jacket’ when a sniper who takes out 5 soldiers turns out to be a 14 year old girl:
And then there’s the more recent Clint Eastwood film ”American Sniper”:
It’s not the case that Hollywood’s version of the American soldier is simply that of a violent Right Wing sociopath, that’s too much of a box office risk in a country which prides itself on its military as America does. Instead, the American soldier is depicted as the ‘every-guy’ being dropped into a moral and ethical maelstrom where the certainties of life on the Kansas farm or the factory in Minnesota quickly vanish.
The enemy is human, and to kill the human other has dire consequences. The Vietnamese sniper who cuts down your buddies turns out to be a young girl who must be killed, the suicide vest of the Islamic crazy is worn by a small boy, and so on…it’s the tragedy of it all!.
|”Look what they did to our boys!”|
Only the Germans in World War 2 are disallowed from being human, only there are the moral conundrums thrown out and moral absolutism embraced, only the war against the European racists was, is and can ever be ‘The Good War’.
Rob Ager going through contortions explaining to his subscribers that he’s not defending Nazism is similar to a medieval scientist explaining to the clergy that he isn’t denouncing God, but, however, it does indeed appear to be the case that the earth revolves around the sun. Similarly, if the Nazis are the epitome of evil, literally satanic, then surely their ‘greatest victims’ are an incarnation of all that is good and noble, to question this is, therefore, outright heresy.
Or at least that’s what the people who own Hollywood want us to believe…….
Another objection to the line of thinking of an article such as this is that, it is precisely because Spielberg is Jewish that he’s allowed to throw objectivity out, that the supposed crimes committed by Germans toward his people makes it perfectly legitimate for him to view Germans as something less than human.
Under this moral standard anyone should be able to make a movie and be as subjective as they like, for example, a scriptwriter could send a story to a Hollywood studio entitled ”Two Nights In Dresden” which is a dramatization of events on the ground during the Dresden bombing raids in World War 2 when at least 250,000 German civilians were fire bombed by 1200(!) heavy bombers dropping 4000 tonnes of explosives on German women and children. The film would not be in any way ideological, National Socialism, the Jews, the Holocaust and Hitler would be absent, this would simply be a large budget film about personal struggle on the ground. Perhaps a priest trying to save people from being incinerated into globules of bubbling human body fat.
I’d love to see that movie, it would be heartbreaking, eyeopening and a cathartic experience for Europeans. But that film never has been and never will be made, because the script would land on the desk of somebody like (((Spielberg))) and they’d toss it straight into the trash, because every movie studio in Hollywood is owned by Jews.
So okay, we bypass Hollywood and create documentaries such as Hellstorm or The Greatest Story Never Told, but then the ADL and SPLC will come after you, and anyway, YouTube is also their property and they will call your work ”Hate” and ”Far Right propaganda” and thus deserving of censorship.
In the end it isn’t just about ”getting the truth out” although that’s obviously a major issue, it’s more than that, it means we Europeans cannot truly know ourselves or speak to each other, it means our culture does not represent our nature or reflect our desires or dreams. An Englishman, such as me, and a German are racial kin, in post-modernity we face the same issues, the same dangers and the same threats, but we cannot see ourselves as such because there’s a third party involved who keeps us distant and who bastardizes and warps the cultural and intellectual relationship we should have, and that goes for all Europeans everywhere.