May 6th

Rather ironically yet quite fittingly, the last film Dutch auteur Theo van Gogh (Blind Date, Interview)—the great-grandson of the art dealer brother of tragic post-impressionist painter Vincent van Gogh—directed before he was himself assassinated was a political thriller based on the assassination of so-called ‘right-wing’ populist politician Pim Fortuyn, who was supposedly gunned down by a pansy vegan animal rights activist who felt his victim was a racist who was using towelheads as ‘scapegoats.’ Indeed, despite being openly gay, Fortuyn was one of only a handful of Dutch politicians who had the testicular fortitude to admit that the Netherlands had a serious immigrant problem (in fact, he once wrote a book entitled Against the Islamization of Our Culture (1997)) yet he was a pro-market kind of guy and his views on immigration were rather liberal compared to serious nationalists (for example, he had no problem assimilating non-whites). Naturally, as someone that was a personal friend and supporter of Fortuyn, van Gogh was able to assemble a film that is more personal, intimate, and intriguing than similarly themed works. Indeed, while certainly no masterpiece (let alone anything close to the director’s greatest film), 06/05 (2004) aka May 6th aka The Sixth of May manages to depict the exceedingly erratic essence and socio-politically schizophrenic multicultural-inspired inner turmoil of a culturally degenerating democracy that prides itself on its ‘openness,’ ‘liberalness,’ and dedication to free speech. Featuring a decadent journalist as a protagonist who is more or less a parody of Dutch liberalness and who has no serious problem with his teenage daughter dating an exceedingly ugly Moroccan thug, 06/05 is a quasi-labyrinthine story in a semi-docudrama style of the hermetic craziness that ensues when a reporter attempts to uncover the dubious assassination of fallen ‘fascist fag’ Fortuyn and finds himself immersed in a dangerous world involving the Dutch Secret Service (aka AIVD), animal rights activists, defense contractors, members of the Bilderberg Group, and scheming American businessmen with glaring hook-noses. A realist depiction of the aftermath of what some might describe as the Dutch equivalent to 9/11 shot in a documentary-like 3-camera-setup technique style and featuring real stock footage of Fortuyn (including when he was once the victim of pieing that would somewhat humorously foreshadow his death) and old newsreels, 06/05 is, quite unlike Oliver Stone’s sophomoric conspiracy turd JFK (1991), plausible in terms of its message as a work that demonstrates that many people in politics, business, and the Muslim world had much to benefit from the ill-fated fag fascist’s tragic death. Perhaps even more interestingly, the film also brings up questions regarding van Gogh’s own assassination, which took place exactly 911 days after Fortuyn's, with the work being released posthumously about a month after the director’s violent death (somewhat notably, 06/05 was the first to be released online before it hit the theaters in the Netherlands). 

 Jim de Booy (Thijs Römer) is an exceedingly cynical 32-year-old divorced photo journalist and while doing a photo shoot with a hot actress model named Birgit Maas (Georgina Verbaan)—a lecherous little lady who talks about her unsavory yet stereotypical goal of attempting to find a ‘sugar daddy’ and how her father remarked regarding her performance in a Harold Pinter play, “I didn’t get it, but you’ve got a nice ass”—in Hilversum, North Holland, he becomes an unwitting witness to controversial Dutch anti-Islamist politician Pim Fortuyn’s untimely assassination by a seemingly deranged animal rights activist named Volkert van der Graaf. While Jimmy boy fails to take pictures of the actual assassination, he does notice a number of dubious individuals hanging around the general area of the curious killing. Meanwhile, a young Turkish-born animal rights activist that belonged to a group called ‘Green Offensive’ named Ayse Him (Tara Elders), who just got out of jail after serving an 18 month prison sentence for her questionable involvement in the death of a night watchman, is packing all of her things to move out of her apartment, which is adorned with far-left propaganda posters reading “Pim the Savior – Stop Racism” depicting Fortuyn as Hitler. Two of Ayse’s lovers, a degenerate Dutch Aryan animal rights activist named Wouter Heemskerk (Gijs Naber), who was the one that was actually responsible for the death of the night watchman, and a middle-aged Turkish far-left journalist/terrorist named Erdogan Demir (Cahit Ölmez), were near the general location at the time when Fortuyn was assassinated. When Erdogan walks in on Wouter attempting to drown Ayse in a bathtub, he kills him and gets his girlfriend to help dump the degenerate Dutchman’s body in a canal. Upon arriving at the crime scene to take photos when the corpse of Wouter, who was placed in his car as if he accidentally drowned after driving into the water, is pulled from the sea, Jim realizes he is one of the strange people that he spotted at the site of Fortuyn’s assassination. Meanwhile, members of the Bilderberg Group and Dutch Secret Service, as well as Jewish-looking businessmen, discuss the future of Dutch politics in the wake of Fortuyn’s death. 

 After Jim turns into a sort of degenerate Sherlock Holmes and does some detective work with the help of his teenage daughter Marije (Caro Lenssen), Jim learns about Ayse and begins watching her every move. Unfortunately, two Secret Service men—a lard ass named Van Dam (Jack Wouterse) and his pernicious pint-sized minion ‘Wester’ (Marcel Hensema)—realize that Jim is on to their sour scent. Unbeknownst to Ayse, her new boyfriend Erdogan is in cahoots with the sinister yet rather silly acting Secret Service men that were involved with the conspiracy to liquidate Fortuyn, who more than likely would have won the upcoming election for Prime Minister, which would have caused major trouble not only for the members of the Dutch SS, but liberal politicians, globalists, shady American businessmen, Muslims, and other culture-distorting rabble who want to turn the entire planet into a worldwide third world inhabited by raceless, sexless, soulless, cultureless, materialistic brown serfs. When Jim eventually catches up with Ayse at a crowded water park and essentially saves her life, he finds himself a marked man, with his friends and family members also being victims of their wrath. While a statuesque Secret Service woman attempts to kidnap Jim’s daughter Marije but fails, the SS men do manage to kidnap the journalist's co-employee John van Gaal (Johnny de Mol), who they talk into believing that his photo journalist friend was involved in the assassination of Fortuyn. While Jim’s daughter manages to find shelter in the home of her towelhead boyfriend Hamid (Fouad Mourigh)—a swarthy aspiring rapper who writes pro-terrorist/anti-Dutch/anti-gay lyrics regarding Fortuyn's assassination like, “They say Left sent the bullet but I don’t believe it…Pity Al-Qaeda didn’t shoot him dead along with all the queers in bed. Volkert – your country needed you…Heroes aren’t born, but you’ll do”—the Secret Service guys eventually track her down, though they fail in a fight against a group of stoned stupid Muslims. In the end, it is revealed that Pim Fortuyn was probably assassinated due to his disapproval in participating in the development of a U.S. jet (aka Joint Strike Fighter project). Indeed, after he was assassinated, Fortuyn’s carefully selected successor approved of the jet plan. 

 While a rather aesthetically unimpressive political thriller with an absolutely horrendous soundtrack and oftentimes unintentionally unnerving acting performances, 06/05 is a consistently enthralling work that probably does a better job than any other film of the past decade or so in terms of depicting the precarious political and cultural situation in the Netherlands today. Indeed, depicting a seemingly insane world where white Dutch girls date unsavory Arab rappers and where politicians literally wish death upon their political contemporaries for holding pro-Dutch politically incorrect political views, van Gogh’s film demonstrates that post-WWII liberal democratic values have dissolved the cultural fabric of the Netherlands and turned it into an increasingly troubled place where hostile foreigners are given special treatment over the indigenous Dutch, who, with the assassination of Fortuyn, have no voice to fight against the rising tide of color in their densely populated Germanic nation. Undoubtedly, one of the most potent and incriminating scenes of the film is a montage featuring carefully selected real news footage of Fortuyn’s enemies wishing death on him, including one politician who sadistically states, “I think Fortuyn has hurt himself. I hope he hurt himself. I hope the wound is so deep, it doesn’t stop bleeding before May 15.” Of course, one of the politicians attempts to paint Fortuyn as a neo-Nazi by quoting Anne Frank and comparing the assassinated politician’s anti-immigration policies to those carried out by the Nazis during the holocaust. No doubt, the most hateful of Fortuyn’s detractors is a popular Dutch TV personality named Marcel van Dam (of course, van Gogh named the fat Secret Agent after this fellow), who unsuccessfully attempted to have his scene cut from the film where he accuses the politician of being “an extremely inferior being” and “rabble-rouser” who seeks to, “exploit potential xenophobia among Dutch people.” Of course, as auteur Theo van Gogh’s own assassination by an ugly untermensch Moroccan demonstrates (which was carried out because said untermensch was offended by the director’s controversial yet ultimately unimpressive short Submission (2004)), the only active xenophobes are the Muslims, not to mention the fact that so-called ‘xenophobia’ is a completely rational feeling for the Dutch to have seeing that they have been displaced within the confines of their own tiny nation. Interestingly, some suspect that van Gogh was not assassinated by a camel jockey, but by the Secret Service (interestingly, the SS was aware of his assassin Mohammed Bouyeri, as he and his terrorist group were under surveillance). Indubitably, after watching 05/06, which depicts the Dutch Secret Service (AIVD) in an exceedingly unfavorable light, it does not seem all that implausible that they would want to kill the filmmaker. Ironically, van Gogh’s father Johan van Gogh served in the AIVD (when it was known as the ‘BVD’), thus the filmmaker probably had certain insights regarding the Secret Service that influenced his rather damning film. Indeed, apparently Fortuyn was hated by the Dutch elite (which van Gogh also hated, as a man that belonged to a political party that calls for the abolition of the Dutch monarchy), who called a boycott against him a couple years before his assassination. Before his death, polls indicated that Fortuyn would have won the 2002 election for Prime Minister and of course he would have taken his revenge against the elite. 

 Assassinated exactly 911 days after Fortuyn was assassinated, Theo van Gogh, who was arguably the most controversial public figure in the Netherlands at the time of his death and certainly a thorn in the side of not just Islam but Zionism and American imperialism, certainly seems like the sort of individual that certain people wanted to have permanently snuffed out. Ultimately, by whom and why he was assassinated is irrelevant as all of these entities are of the same odious anti-Occidental disease and should be treated as such (as they say, if you don’t kill cancer, it spreads). When van Gogh was assassinated, the Jewish Zionist extremist mayor of Amsterdam, Job Cohen, had the gall to call for the unity of the Dutch and Muslims, absurdly remarking, “People can be cynical about this, but I can't do anything about this.” Also, Cohen, who was publicly attacked by van Gogh (who once compared him to a Nazi collaborator due to his weak stance on Islamic terrorism and the Islamization of the Netherlands), was notorious for refusing security to any public figure that held ‘right-wing’ or ‘nationalist’ views while at the same time demanding that the Dutch, “fight nazism and racism.” It should be noted that 05/06 also depicts miscegenation in a negative light, with the protagonist Jim rhetorically asking his daughter regarding her ‘romantic’ relationship with a Muslim, “A nice shit Moroccan? Or are you his whore?,” while at the same time not realizing that his lack of parenting skills is largely responsible for his progeny's degenerate choice of sexual partners. Of course, Jim is also depicted as a negligent father/husband who divorced his wife so he could play ‘Don Juan,’ thus indicating his daughter’s raunchy race-mixing is a form of self-destructive rebellion. Indeed, despite being a lifelong free speech activist who directed some of the most iconoclastic Dutch films ever made, van Gogh seemed to begin to understand the decidedly deleterious effect that liberalism, multiculturalism, Zionism, and globalization were having on his nation. Since it seems rather appropriate, I am going to conclude this review with a remark that Fortuyn made on TV that is featured in 05/06 regarding his revolutionary and much needed dream for the Netherlands: “I reflect an important feeling in Holland. What is wrong with saying that? This is one of the most densely-populated countries. I understand all too well, as I have repeated, I should repeat it more clearly, if I say we should stop […] But it’s essential, if we want to dam the excesses because there’s a massive influx pressuring integration and security, using education, health care, and our social security provisions. If you don’t want the structure to collapse, and I don’t…then we should prevent more from coming in.” If more popular public figures need to be assassinated for Europeans to wake up once and for all to thwart the pervading malignancy that is turning Europa into a third world sewer, then so be it. 

-Ty E