Admittedly, it is not that often that a subpar Zionistic Hollywood movie inspires me to read a 400-page book co-written by two less than literally gifted small town journalists, but such is certainly the case with the largely forgotten shit flick Betrayed (1988) directed by Greek-French auteur Costa-Gavras (Z, Hanna K.) and penned by exceedingly ethno-masochistic and seemingly spiritually castrated Hungarian-American screenwriter Joe Eszterhas (Basic Instinct, Showgirls). Indeed, a fairly typical example of Hollywood raping facts and molding them to fit their own post-Trotskyite Zio-ganda agenda, the film—a virtual Gone with the Wind of Zionist produced neo-Nazis flicks—is loosely based on the thrilling real-life story of white nationalist martyr Robert Jay Mathews and his underground European-American revolutionary group Brüder Schweigen (aka Silent Brotherhood aka The Order) and their rather insanely ambitious attempt to rage war against the U.S. government and reclaim the United States for Europids. After initially watching Costa-Gavras' debut Hollywood feature, I was appalled by the film’s absurd distortions and decided to read The Silent Brotherhood: Inside America's Racist Underground (1989) by veteran Denver reporters Kevin Flynn and Gary Gerhardt so that I could at least learn the basic facts in regard to the rise and fall of Mathews and the Brüder Schweigen. While I expected Mathews and his motley Männerbünde to be moronic Hitler fetishists and demented dope-addled criminals, The Silent Brotherhood revealed a truly tragic story about somewhat misguided yet hardly ignorant men with patriotic spirits comparable to America's founding fathers. Although involved in rather ambitious bank robberies, counterfeiting operations, and political assassinations over a period of about a year between 1983 and 1984, most of the men in the Brüder Schweigen lacked any sort of criminal record and its member included mailmen, war veterans, former high school basketball stars, farmers, deep sea divers, college scholars, etc. In short, the admittedly quite bad ass bros of Brüder Schweigen were not brain-dead skinheads with shitty homemade tattoos that listened to third rate punk music, but largely likeable and respectable men that truly believed in what they were doing and, in some case, ultimately accepted death over defeat and perennial incarceration to cowardly snitching.
As Flynn and Gerhardt’s book reveals, the actions of the Brüder Schweigen make the neo-cowboy bank-robbing depicted in David Mackenzie’s Hell or High Water (2016) seem terribly trite by comparison. A sort of real-life (and less autistic) white nationalist equivalent to the character Dignan from Wes Anderson’s debut feature Bottle Rocket (1996), Mr. Mathews was, despite his flaws, a relatively pure of heart man that was virtually unanimously beloved by his followers and who practiced what he preached to the point where he literally sacrificed himself for them and became a martyr to the cause. Indeed, after a very long and intense standoff with 75 armed federal law enforcement, Mathews was burned alive as a result of an FBI agent firing three M-79 Starburst flares inside the house that he barricaded himself inside. Needless to say, Costa-Gavras’ highly fictionalized depiction of Mathews and the Brüder Schweigen is a grotesque injustice in terms of sheer historical fact, yet the film is not without its intriguing elements, namely its depiction of the FBI as more or less a morally bankrupt outfit led by power-hungry nihilists that lack principles and are just as criminally-inclined as the lawless terrorists that they so ruthlessly seek to destroy. In short, Costa-Gavras might hate fascists, but he seems to hate the FBI and United States government just as much. After all, as the Betrayed reveals, while the FBI agents have sold their souls to a corrupt government, the white revolutionaries at least have ideals and are fighting for a cause that they truly believe in.
As Flynn and Gerhardt’s book reveals, the actions of the Brüder Schweigen make the neo-cowboy bank-robbing depicted in David Mackenzie’s Hell or High Water (2016) seem terribly trite by comparison. A sort of real-life (and less autistic) white nationalist equivalent to the character Dignan from Wes Anderson’s debut feature Bottle Rocket (1996), Mr. Mathews was, despite his flaws, a relatively pure of heart man that was virtually unanimously beloved by his followers and who practiced what he preached to the point where he literally sacrificed himself for them and became a martyr to the cause. Indeed, after a very long and intense standoff with 75 armed federal law enforcement, Mathews was burned alive as a result of an FBI agent firing three M-79 Starburst flares inside the house that he barricaded himself inside. Needless to say, Costa-Gavras’ highly fictionalized depiction of Mathews and the Brüder Schweigen is a grotesque injustice in terms of sheer historical fact, yet the film is not without its intriguing elements, namely its depiction of the FBI as more or less a morally bankrupt outfit led by power-hungry nihilists that lack principles and are just as criminally-inclined as the lawless terrorists that they so ruthlessly seek to destroy. In short, Costa-Gavras might hate fascists, but he seems to hate the FBI and United States government just as much. After all, as the Betrayed reveals, while the FBI agents have sold their souls to a corrupt government, the white revolutionaries at least have ideals and are fighting for a cause that they truly believe in.
Admittedly, I am no Costa-Gavras connoisseur and have come to the conclusion that the auteur spent at least the first decade or two of his filmmaking career attempting to remake Judaic Guido Gillo Pontecorvo’s commie classic La battaglia di Algeri (1966) aka The Battle of Algiers (in fact, Costa-Gavras would collaborate with the film’s screenwriter Franco Solinas on his anti-American agitprop piece État de siege (1972) aka State Of Siege), but I have also come to the conclusion that, socio-politically speaking, Betrayed is not your typical Hollywood political-drama-thriller and certainly benefits from being helmed by an (ex)arthouse auteur. Additionally, Costa-Gavras’ revolutionary heritage (his father was a card-carrying commie that, among other things, fought in the Pro-Soviet branch of the Greek Resistance) is certainly to the film’s advantage. Indeed, instead of simply depicting them as solely braindead knuckle-dragging neo-nutzis like most Hollywood movies, the white nationalists in the film are at least depicted as genuine revolutionaries that are fighting against an innately corrupt government, albeit for their race and community instead of the superficial intellectual abstraction of the proletariat. While the white nationalists are portrayed as hardworking proles that love their country, the FBI members are presented as pathetically deracinated opportunistic yuppies, snobs, and psychopaths that crave power for power’s sake and are more than willing to do the government's dirty weak to obtain said petty power.
Of course, Betrayed is also plagued with some disgusting absurdities, including a sickening scenario where a group of white nationalist hillbillies hunt down and kill a negro in the woods with a certain sadistic glee, as if they are hunting for deer for sport. While the Brüder Schweigen assassinated an enemy and killed a traitor, they certainly were not prone to targeting random negroes or other nonwhites, as they considered such senseless savagery to be counterproductive to their cause. It should be noted that the film’s screenwriter Joe Eszterhas is a pathetic ethno-masochist of sorts who refused to visit his own father, Hungarian aristocrat Count István Esterházy, on his deathbed because the old man was once a member of the nationalistic Arrow Cross Party. Indeed, not unlike Eszterhas’ subsequent cinematic collaboration with Costa-Gavras, Music Box (1989), Betrayed features a rather dubious message that it is morally righteous to betray a loved one and/or family member to a corrupt government if that person shares certain less than politically correct political views. On top of that, both films feature a laughably insipid feminist message that becomes all the more patently absurd when one realizes that Eszterhas penned such compulsively sleazy films as Basic Instinct (1992) and Showgirls (1995). In short, Eszterhas is probably the most to blame for the films’ rather retarded post-shoah pseudo-moralizing.
Of course, Betrayed is also plagued with some disgusting absurdities, including a sickening scenario where a group of white nationalist hillbillies hunt down and kill a negro in the woods with a certain sadistic glee, as if they are hunting for deer for sport. While the Brüder Schweigen assassinated an enemy and killed a traitor, they certainly were not prone to targeting random negroes or other nonwhites, as they considered such senseless savagery to be counterproductive to their cause. It should be noted that the film’s screenwriter Joe Eszterhas is a pathetic ethno-masochist of sorts who refused to visit his own father, Hungarian aristocrat Count István Esterházy, on his deathbed because the old man was once a member of the nationalistic Arrow Cross Party. Indeed, not unlike Eszterhas’ subsequent cinematic collaboration with Costa-Gavras, Music Box (1989), Betrayed features a rather dubious message that it is morally righteous to betray a loved one and/or family member to a corrupt government if that person shares certain less than politically correct political views. On top of that, both films feature a laughably insipid feminist message that becomes all the more patently absurd when one realizes that Eszterhas penned such compulsively sleazy films as Basic Instinct (1992) and Showgirls (1995). In short, Eszterhas is probably the most to blame for the films’ rather retarded post-shoah pseudo-moralizing.
Undoubtedly, you know a film about an infamous white nationalist revolutionary group is going to have certain insufferable Zionistic and cultural Marxist agitprop properties when the very first inter-title reads, “An Irwin Winkler Production.” As his discernibly Hebraic name clearly indicates, Winkler is a pride member of the Judaic tribe and he has even produced a number of films glorifying Jewish criminals, including The Gambler (1974) penned by James Toback and directed by fellow tribesman Karel Reisz and alpha-shabbos goy Martin Scorsese's sick Zio-fantasy The Wolf of Wall Street (2013).
At the beginning of Betrayed, an odiously obnoxious Jewish radio show host based on Alan Berg—a loathsome figure whose assassination was also depicted in Oliver Stone's largely forgotten celluoid turd Talk Radio (1988)—is gunned down in a parking garage shortly after he gets done finishing a show where he baits anti-Semites by stating things like, “Jew-boys. Anti-Semitism, racism, hate. I know there’s a lotta kike-haters among you nice Gentiles.” Needless to say, like the real Herr Berg—a seemingly quasi-sociopath with a fetish for black women who was supposedly gunned down by Brüder Schweigen member Bruce Pierce with a MAC-10 in his own driveway—the Jewish radio host, who makes Howard Stern seem like a cultivated gentlemen and scholar by comparison, is a hardly sympathetic character, but since he is a high-profile individual the FBI begins investigating his mysterious murder and ultimately hires a less than dainty dame named agent Catherine Weaver (played by real-life Jewess Debra Winger) to infiltrate a small Midwestern farming community to see if some of its populous are part of an underground white nationalist network that is suspected of the incendiary Israelite's murder. Since the assassins spray-painted “ZOG” on both the Jewish radio host's corpse and car, the FBI is convinced that white nationalist carried out the murder, but they have no evidence to support their suspicions. A cold and oftentimes highly irritable childless single woman that seems to be emotionally impenetrable, Catherine has nil family members because she lost both of her parents in a car crash when she was just a wee babe, thus she makes the perfect undercover FBI agent due to her lack of familial responsibilities and seemingly deep-seated longing for a family of her own. Unfortunately for Catherine, she does not expect to be effortlessly seduced by the Midwest's foremost white nationalist revolutionary.
At the beginning of Betrayed, an odiously obnoxious Jewish radio show host based on Alan Berg—a loathsome figure whose assassination was also depicted in Oliver Stone's largely forgotten celluoid turd Talk Radio (1988)—is gunned down in a parking garage shortly after he gets done finishing a show where he baits anti-Semites by stating things like, “Jew-boys. Anti-Semitism, racism, hate. I know there’s a lotta kike-haters among you nice Gentiles.” Needless to say, like the real Herr Berg—a seemingly quasi-sociopath with a fetish for black women who was supposedly gunned down by Brüder Schweigen member Bruce Pierce with a MAC-10 in his own driveway—the Jewish radio host, who makes Howard Stern seem like a cultivated gentlemen and scholar by comparison, is a hardly sympathetic character, but since he is a high-profile individual the FBI begins investigating his mysterious murder and ultimately hires a less than dainty dame named agent Catherine Weaver (played by real-life Jewess Debra Winger) to infiltrate a small Midwestern farming community to see if some of its populous are part of an underground white nationalist network that is suspected of the incendiary Israelite's murder. Since the assassins spray-painted “ZOG” on both the Jewish radio host's corpse and car, the FBI is convinced that white nationalist carried out the murder, but they have no evidence to support their suspicions. A cold and oftentimes highly irritable childless single woman that seems to be emotionally impenetrable, Catherine has nil family members because she lost both of her parents in a car crash when she was just a wee babe, thus she makes the perfect undercover FBI agent due to her lack of familial responsibilities and seemingly deep-seated longing for a family of her own. Unfortunately for Catherine, she does not expect to be effortlessly seduced by the Midwest's foremost white nationalist revolutionary.
While working undercover as a combine driver—a hopelessly blue collar job that demonstrates beyond any reasonable doubt that the heroine is a less than dainty dame with an incurable case of penis envy—under the phony name Katie Phillips, Catherine soon finds herself falling in love with the local white revolutionary leader and acquiring a sort of adopted nuclear family where she feels complete for the first time in her exceedingly lonely life. Indeed, widowed Vietnam War veteran Gary Simmons (Tom Berenger)—the leader of the revolutionary group and a character that is very loosely based on real-life white national martyr Robert Jay Mathews—has not touched a woman in years since his wife died under dubious circumstances, but he immediately becomes entranced with Catherine upon first meeting her and it is practically love-at-first-sight, even though Catherine is a somewhat frigid bitch who seems disgusted at even the thought of a man daring to hit on her. Unfortunately for Catherine, Gary is a passionate, confidant, devilishly handsome, and charismatic charmer that knows how to get what he wants. Naturally, Catherine refuses to believe wholesome and sensitive family man Gary is a hateful killer, especially after he makes love to her and makes her feel like a real woman for the first time in her entire life. Of course, no unlike Mathews, Gary is a dichotomous individual with a dark murderous side that is well hidden beneath his rather welcoming and charming Adonis-like exterior. Additionally, like Mathews, Gary believes everything he says and is completely convinced that he is doing the Lord’s work by leading a white nationalist militia that is responsible for assassinating the world’s most obnoxious Jewish radio host. Needless to say, like Mathews, Gary seems to have been inspired by the white revolution depicted in the racially apocalyptic dystopian novel The Turner Diaries (1978) written by pseudonymous writer Andrew Macdonald (aka physicist turned National Alliance founder William Luther Pierce).
Catherine works for an exceedingly arrogant twat named Michael ‘Mike’ Carnes (John Heard) who, despite being an (ex)lover of the heroine, has no problem whoring her out to a ‘lowly’ blue collar mensch that he despises and wants to destroy. Indeed, Catherine is Mike’s hot twat honeypot, though he gets extremely angered when he discovers that she has begun a real romantic sexual relationship with handsome alpha-male Gary, who has a natural sort of raw masculinity energy that the somewhat bourgeois self-absorbed FBI stooge lacks. A deracinated WASP that is more or less the opposite of Gary when it comes to the cultural, racial, and spiritual, Mike naturally has no problem having a quasi-sociopathic negro named Al Sanders (Albert Hall)—an inordinately cold and stoic spade that seems like he could be the big brother of the psychopathic serial killer ‘Pluto’ played by Michael Beach in Carl Franklin's One False Move (1992)—as his right-hand man. As Al's action ultimately demonstrate, he is a remorseless killer that is able to get away with coldblooded murder simply because he works for the FBI. As big black Al tells Catherine when she expresses great discomfort as a result of being whored out by the FBI and being put in a very potentially deadly situation, “Everybody uses everybody, girl. It’s just a matter of what you’re being used for. What it is . . . is the only important thing.” Undoubtedly, Al would certainly be labelled an ‘Uncle Tom’ by the average urban negro, even if he kills white nationalists, as he has sold his soul to the FBI. While both Mike and Al are cold and calculating cynics that have no problem putting the lives of innocent citizens in danger if it benefits their careers, they seem to thrive on crushing Gary and his crew because they are a serious threat to the bureaucratic anti-working-class machine that they serve. Indeed, they are operatives of what Gary describes as “ZOG” (aka ‘Zionist Occupied Government’). Undoubtedly, if it was somehow proven to Al and Mike that the United States was unequivocally under the control of Zionist Jews that put Israel before the U.S., they would not mind as they are unscrupulous opportunities that live solely for personal gain. Indeed, while she never clearly articulates it in a specific way, Catherine has serious doubts about the intentions and methods of her bosses and coworkers.
The patriotic son of a vocal tax resistor and Sons of Liberty member that committed suicide after the IRS put a lien on his farm and depriving him of his livelihood, Gary has good reason to loathe the government and the people that serve it. As a Vietnam War veteran that received an award for being wounded and almost received the Medal of Honor for bravely killing a bunch of gooks on a suicidal mission, Gary practices what he preaches and is not some sort of hypocritical armchair warrior. Unbeknownst to Catherine, Gary has taught his young children Rachel and Joey to hate Jews, black, other assorted mud people, queers and race traitors. Due to the fact his wife left him because of his political views, Gary decides to completely indoctrinate Catherine into the cause shortly after they become a couple, thus soon tainting the heroine's love for him. Indeed, under the pretext of going on a ‘hunting’ trip, Gary horrifies Catherine by more or less tricking her into get involved in brutally murdering a young negro man with other members of his revolutionary group. When Catherine emotionally breaks down after witnessing the coldblooded murder of the colored gentleman and expresses her horror and disgust in regard to the incident, Gary makes a feeble attempt to comfort her by stating, “Aw, come on, Katie. Come on, now. It was just a nigger. Don’t make too much out of it. There’s plenty more where he came from. I didn’t want there to be anything between us. I love you that much that I wanted you to come. If you love me, I got nothin’ to worry about. But if you don’t, I don’t’ care about goin’ to jail. But one thing’s for sure; we’re gonna kick the hell outta ZOG […] Zionist Occupation Government. It means the goddamn Jews are runnin’ our country with their nigger police.” At this point, Catherine resolves to immediately run away from Gary and seeks comfort in her less than comforting fellow FBI employers, but Mike tells her that she most go back so that they can build up their case and destroy the white nationalist cell. To make matters worse, Gary’s pal Wes (Ted ‘Buffalo Bill’ Levine in a fairly underrated role)—a convicted felon that is known for raping men and attempting to wage war against native negroes in South Africa—rightly suspects that Catherine is an informant or undercover agent of some sort (or what Gary describes as a “grasshopper”), especially after she nearly runs him over with her large pick-up track while fleeing from Gary. Luckily for Catherine, Gary loves her too much to take Wes' claims seriously.
Like Robert Jay Mathews and the Brüder Schweigen (which managed to snag nearly $4 million in less than a year during their robberies), Gary comes up with an elaborate plan to begin robbing banks so that his group can build up a war chest and have the monetary means to cause serious destruction to the United States government. Indeed, Gary hopes to start a racial civil war of sorts that will result in America becoming a completely racially and culturally homogeneous judenfrei Aryan utopia. Somewhat absurdly, Gary wants Catherine to take part in the robbers, as he wants to her to be a part of every aspect of his life. During their first bank robbery, the FBI monitors the area yet opts not to intervene so Catherine is forced to shoot a fat elderly security as a result. To make matters worse, FBI house negro Sanders shoots Wes, who ultimately dies an extremely painful and agonizing death in Catherine’s arms. Despite their previous animosity, Catherine and Wes started to bond a little bit before the bank robbery, so the heroine is naturally horrified by the murder and especially by the fact that the rather quirky revolutionary died in her arms. In fact, negro Al even proudly brags about killing Wes and describes the experience to Catherine as “terrific” and being “Like cleaning something off my shoe.” Naturally, with murderously arrogant government employed negroes like Al, it is easy to see why there are cutthroat revolutionaries groups like Gary's.
Indeed, not unlike Gary and his group in regard to nonwhites and race traitors, the FBI has dehumanized Gary’s gang to such an extreme degree that they derive sadistic glee from killing its members in cold blood. Naturally, as a decidedly duplicitous dame that lives a virtual schizophrenic existence where she finds it impossible to become totally loyal to either the FBI or Gary’s group, Wes’ murder only further compounds Catherine's growing resentment and disillusionment towards her emotionally parasitic and obscenely opportunistic employers to the point where her mental stability begins to become compromised and she questions everything that she is doing. On top of loving Gary, Catherine has developed strong emotional bonds with certain members of the group, including a benign grandfather-like figure named ‘Shorty’ (John Mahoney) who, despite loathing violence and murder, decided to join the revolutionary group after a bank stole his farm and the Vietnam War claimed his sole son. Like many of the members of the Brüder Schweigen, the members of Gary’s group have legitimate personal grievances against the government, which is using the IRS to systemically destroy Midwestern farmers and dispossess them of their farms and livelihoods. In short, the government and its anti-citizen/anti-farmer/anti-white policies are directly responsible for the growth of white nationalist movements, or so the film clearly insinuates. Indeed, while the film is obviously anti-Nazi, it also dares to reveal that the white revolutionaries are the natural consequence of a corrupt globalist government that cares nothing for its most loyal and patriotic citizenry.
Indeed, not unlike Gary and his group in regard to nonwhites and race traitors, the FBI has dehumanized Gary’s gang to such an extreme degree that they derive sadistic glee from killing its members in cold blood. Naturally, as a decidedly duplicitous dame that lives a virtual schizophrenic existence where she finds it impossible to become totally loyal to either the FBI or Gary’s group, Wes’ murder only further compounds Catherine's growing resentment and disillusionment towards her emotionally parasitic and obscenely opportunistic employers to the point where her mental stability begins to become compromised and she questions everything that she is doing. On top of loving Gary, Catherine has developed strong emotional bonds with certain members of the group, including a benign grandfather-like figure named ‘Shorty’ (John Mahoney) who, despite loathing violence and murder, decided to join the revolutionary group after a bank stole his farm and the Vietnam War claimed his sole son. Like many of the members of the Brüder Schweigen, the members of Gary’s group have legitimate personal grievances against the government, which is using the IRS to systemically destroy Midwestern farmers and dispossess them of their farms and livelihoods. In short, the government and its anti-citizen/anti-farmer/anti-white policies are directly responsible for the growth of white nationalist movements, or so the film clearly insinuates. Indeed, while the film is obviously anti-Nazi, it also dares to reveal that the white revolutionaries are the natural consequence of a corrupt globalist government that cares nothing for its most loyal and patriotic citizenry.
Not unlike Costa-Gavras’ subsequent collaboration with Joe Eszterhas, Music Box (1989), Betrayed concludes with an unintentionally absurd twist of cold feministic betrayal. Indeed, when Gary reveals to Catherine that he has discovered that she is an FBI agent just before he aims his rifle at a corrupt politician with dubious hidden ties to white nationalism that he plans to assassinate, Catherine responds by whipping out her service revolver and killing him with a single bullet in a somewhat unconventional demonstration as to why female careerism is totally toxic when it comes to male-female relationships. Notably, right before Catherine kills him, Gary cries, “Oh, God! I loved you, Katie” and finds it impossible to shoot her first even though he knows she is a traitor that has been secretly keeping tabs on him and his group. Of course, it also does not help that Catherine agreed to Gary's proposal of marriage only a couple days before.
In the end, Catherine is so emotionally tormented by the entire experience that she immediately quits the FBI because she rightly believes they exploited her female wiles and then hits the road to wander aimlessly like some degenerate Beat poet. Not surprisingly, Catherine, who genuinely loved the man she killed, is so haunted by Gary that she thinks she sees him at a random bar, as if she will be forever tormented by his figurative ghost. In the very last scene of what is indubitably completely senseless sappy and sentimental feminist swill, Catherine actually gets the gall to pay a visit to Gary’s daughter Rachel despite the fact that she murdered the little girl’s father, thus leaving her and her older brother with no parents. Indeed, somewhat ironically, although she suffered the loss of both of her parents at an early childhood, Catherine did not think twice about consigning a helpless little girl to the same sorry fate, thus contributing to the vicious cycle of bastardization. Of course, the message of Betrayed is that it is much preferable to have dead parents than neo-Nazis ones, but I guess that is what one should expect from a film that was penned by a man that disowned his own father and even refused to pay him a final visit on his deathbed due to his political views.
In the end, Catherine is so emotionally tormented by the entire experience that she immediately quits the FBI because she rightly believes they exploited her female wiles and then hits the road to wander aimlessly like some degenerate Beat poet. Not surprisingly, Catherine, who genuinely loved the man she killed, is so haunted by Gary that she thinks she sees him at a random bar, as if she will be forever tormented by his figurative ghost. In the very last scene of what is indubitably completely senseless sappy and sentimental feminist swill, Catherine actually gets the gall to pay a visit to Gary’s daughter Rachel despite the fact that she murdered the little girl’s father, thus leaving her and her older brother with no parents. Indeed, somewhat ironically, although she suffered the loss of both of her parents at an early childhood, Catherine did not think twice about consigning a helpless little girl to the same sorry fate, thus contributing to the vicious cycle of bastardization. Of course, the message of Betrayed is that it is much preferable to have dead parents than neo-Nazis ones, but I guess that is what one should expect from a film that was penned by a man that disowned his own father and even refused to pay him a final visit on his deathbed due to his political views.
Undoubtedly, I think it is a fairly auspicious time for me to review a film entitled Betrayed about the parasitic menace of ZOG. Indeed, with President of the United States Donald J. Trump’s recent betrayal of all of his follows and campaign promises, removal of White House Chief Strategist Steve Bannon from the National Security Council and disposal of Bannonism, and siding with warmongering neoco(he)ns and his insufferably smug candy ass Jewish son-in-law Jared Kushner—the Zionist extremist son of a convicted felon with ties to ultra-evil international chosenite George Soros—American certainly seems plagued with a Zionist Occupied Government that puts the interests of a foreign welfare state, Israel, over its own citizenry. Undoubtedly, Trump’s grave betrayal is exactly the sort of thing that provides credibility to Robert Jay Mathews and Brüder Schweigen, as it demonstrates that peaceful political change is a fantasy, democracy is a laughable charade, and that all politicians are shabbos goy puppets that work for Israel first and America second, hence the groveling support of the Hebraic apartheid state among both democrats and republicans.
Needless to say, Costa-Gavras’ film is, in a somewhat conventional way, a piece of big budget Zionist propaganda that depicts Midwestern farmers as potential terrorist and blames sociopathic WASPs for the corruption of the extremely pro-Zionist FBI. Surely the film’s depiction of white revolutionaries hunting and killing a negro for sport is nothing short of a grotesque leftist fantasy that bears no relation to any of the actions taken by the Brüder Schweigen, which actually forbid its members from senselessly attacking nonwhites. In fact, the scene is so senselessly stupid that lifelong leftist and negrophile Robert Ebert was even offended by it, or as he wrote in his 1988 review, “Another element that bothered me much more was a particularly disgusting and violent scene in which Berenger and his right-wing buddies capture a black man and then stage a ‘hunt’ in which they chase him through the forest at night and finally kill him. It is reprehensible to put a sequence like that in a film intended as entertainment, no matter what the motives of the characters or the alleged importance to the plot. This sequence is as disturbing and cynical as anything I’ve seen in a long time – a breach of standards so disturbing that it brings the film to a halt from which it barely recovers. I imagine that Costa-Gavras, whose left-wing credentials are impeccable, saw this scene as necessary to his indictment of the racist underworld he was exposing. But BETRAYED is not a small, brave political statement like Z, it is a Hollywood entertainment with big stars, and vile racist manhunts have no place in it.” Indeed, the only purpose of the scene is to instill an irrational of the white revolutionaries in the viewer, which of course is quite typical of post-Eisensteinian Hollywood Zionist propaganda.
Needless to say, Costa-Gavras’ film is, in a somewhat conventional way, a piece of big budget Zionist propaganda that depicts Midwestern farmers as potential terrorist and blames sociopathic WASPs for the corruption of the extremely pro-Zionist FBI. Surely the film’s depiction of white revolutionaries hunting and killing a negro for sport is nothing short of a grotesque leftist fantasy that bears no relation to any of the actions taken by the Brüder Schweigen, which actually forbid its members from senselessly attacking nonwhites. In fact, the scene is so senselessly stupid that lifelong leftist and negrophile Robert Ebert was even offended by it, or as he wrote in his 1988 review, “Another element that bothered me much more was a particularly disgusting and violent scene in which Berenger and his right-wing buddies capture a black man and then stage a ‘hunt’ in which they chase him through the forest at night and finally kill him. It is reprehensible to put a sequence like that in a film intended as entertainment, no matter what the motives of the characters or the alleged importance to the plot. This sequence is as disturbing and cynical as anything I’ve seen in a long time – a breach of standards so disturbing that it brings the film to a halt from which it barely recovers. I imagine that Costa-Gavras, whose left-wing credentials are impeccable, saw this scene as necessary to his indictment of the racist underworld he was exposing. But BETRAYED is not a small, brave political statement like Z, it is a Hollywood entertainment with big stars, and vile racist manhunts have no place in it.” Indeed, the only purpose of the scene is to instill an irrational of the white revolutionaries in the viewer, which of course is quite typical of post-Eisensteinian Hollywood Zionist propaganda.
It should be noted that, out of all the great films he starred in, Tom Berenger regards Betrayed as his personal favorite and even off shrugged the film’s detractors by stating, “It was exactly what it was meant to be.” As a rare Hollywood actor with genuine masculine attributes, it is easy to see why Berenger would like the film, though one can only speculate as to whether or not he sympathized with his character. By all accounts, the real-life Mathews was a charismatic man’s man that was respected by everyone that knew him to the point where many of them risked their lives and freedom for him, hence why Brüder Schweigen immediately fell apart after he was murdered. Needless to say, quite unlike the protagonist of the film, Mathews never had his estranged wife killed or engaged in big-black-game hunting, among other libelous absurdities. Additionally, Mathews and his men only targeted degenerate parasitic entities with his robberies, including porn shops, dope dealers, and banks. A sort of white nationalist Robin Hood, Mathews was also quite generous and was always willing to help out a friend in financial trouble, even before he began robbing banks. In fact, Mathews, not unlike Berenger’s character, was kind and honest to a fault to the point where he refused to believe that one of his followers, low-class Philadelphia bum Tom Martinez, had become a FBI informant to save his own sorry ass from imprisonment after being hit with counterfeiting charges (notably, William Baldwin portrayed Martinez in the weak made-for-TV movie Brotherhood of Murder (1999) featuring Peter Gallagher portraying Mathews). After reading The Silent Brotherhood: Inside America's Racist Underground by Flynn and Gerhardt, I can only come to the conclusion that Mathews was a tragic individual that could have lived a long and fruitful life were it not for his overwhelming longing to engage in a David and Goliath scale war against a corrupt government that he somewhat rightly believed was waging a war against his people and slowly but surely transforming his nation into a multicultural third world dystopia. Undoubtedly, over the three decades since Mathews' untimely death, America has degenerated into untermensch cesspool of sorts, thus completely confirming his greatest fears.
Ultimately, Mathews was burned alive on December 8, 1984 in a house near Freeland, Washington on Whidbey Island by the FBI after a standoff that lasted about two days that involved 500 FBI agents and cops. While surrounded by FBI agents in the house he would soon die in, Mathews managed to pen a suicide letters of sorts that more or less expresses Berenger’s character’s sentiments and the nature of the white FBI agents in the film. Indeed, Mathews' final words read as follows: “We all knew it would be like this, that it would be our own brothers who would first try to destroy our efforts to save our race and our terminally ill nation. Why are so many white men so eager to destroy their own kind for the benefit of Jews and the Mongrels? I see three FBI agents hiding behind some tress to the north of the house. I could have easily killed them, I had their faces in my sights. They look like good racial stock yet all their talents are given to a government which is openly trying to mongrelize the very race these agents are part of. Why can’t they see? White men killing white men, Saxon killing Dane; When will it end? The Aryans’ bane? I knew last night that today would be my last day in this life. When I went to bed I saw all my loved ones so clearly, as if they were there with me. All my memories flashed through my mind. I knew then that my tour of duty was up. I have been a good soldier, a fearless warrior. I will die with honor and join my brothers in Valhalla. For blood, soil, and honor. For faith and for race. For the future of my children. For the green graves of my sires. Robert Jay Mathews.”
Undoubtedly, the story of Robert Jay Mathews and the Brüder Schweigen could make for a truly great epic political-thriller, but Betrayed is unfortunately not that film. Somewhat ironically considering his Hebraic background, William Friedkin—a rare Hollywood filmmaker that has never been afraid of politically incorrect or morally dubious subject matter as his sod S&M slasher flick Cruising (1980) clearly demonstrates—would certainly make for a fit director for such material, but of course a reasonably objective movie about a group named Brüder Schweigen will never be made in the Bizarro World nightmare factory known as Hollywood. After all, as the great anti-communist Russian novelist Aleksandr Solzhenitsyn once wrote, “For a Jew, nothing is more insulting than the truth.” In terms of the basic facts and interviews with actual members of the Brüder Schweigen, the rarely-screened ABC News doc Inside the Hate Conspiracy: America's Terrorists (1995) is certainly watchable, at least as far as Zionist produced propaganda is concerned. In a semi-covertly Zionistic nation with the largest Judaic population in the world, a mostly exclusively Israelite-owned mass media, and a seemingly all-powerful lobby group known as American Israel Public Affairs Committee (AIPAC) that has cuckolded the United States Congress and both major political parties, the Brüder Schweigen will always be depicted as boogeymen while members of the partly Jewish leadership of the commie terrorist group the Weather Underground Organization (WUO) currently teach at American universities and brainwash white kids into hating their race, culture, and history. In terms of his sheer character and selflessness, Mathews also makes for a much better revolutionary hero than cowardly mass murder and rapist Che Guevara (who, incidentally, had a rather low opinion of negroes). Indeed, only when teenagers begin wearing Robert Jay Mathews and Francis Parker Yockey t-shirts will American youth have finally discovered a legitimate form of rebellion and not the sort of phony and self-destruction pseudo-rebelliousness that is fed to the by the sub-literate neo-minstrel performers, debased wiggers, limp-wristed white liberal ethno-masochists, and Hebraic hipsters of Hollywood and the entertainment industry.
Franco-Grecian commie Costa-Gavra' sort of carelessly convoluted hick Hollywood answer to Alfred Hitchcock's Notorious (1946) starring homely Hebrewess Debra Winger as the Ingrid Bergman character, Betrayed is reasonably entertaining, features semi-sexy characters, and even includes the nice little novelty of self-described “hillbilly Jew” Ted Levine portraying a murderously paranoid neo-Nazi with a gay rapist past, yet it is also a work of audaciously asinine agitprop that unwittingly gives credence to the theory that America is under the control of a Zionist Occupied Government that is systematically destroying and dispossessing American's white working-class backbone, hence the birth of the Brüder Schweigen in the first place. Indeed, the last thing white proles need after a long hard day of work is to be confronted with the condescending and hypocritical anti-white celluloid garbage that is being incessantly vomited and defecated out by the liberals and Jews of Hollywood, or so Alan Berg learned the hard way after spewing out years of anti-goy vile to his thoroughly debased listeners.
Franco-Grecian commie Costa-Gavra' sort of carelessly convoluted hick Hollywood answer to Alfred Hitchcock's Notorious (1946) starring homely Hebrewess Debra Winger as the Ingrid Bergman character, Betrayed is reasonably entertaining, features semi-sexy characters, and even includes the nice little novelty of self-described “hillbilly Jew” Ted Levine portraying a murderously paranoid neo-Nazi with a gay rapist past, yet it is also a work of audaciously asinine agitprop that unwittingly gives credence to the theory that America is under the control of a Zionist Occupied Government that is systematically destroying and dispossessing American's white working-class backbone, hence the birth of the Brüder Schweigen in the first place. Indeed, the last thing white proles need after a long hard day of work is to be confronted with the condescending and hypocritical anti-white celluloid garbage that is being incessantly vomited and defecated out by the liberals and Jews of Hollywood, or so Alan Berg learned the hard way after spewing out years of anti-goy vile to his thoroughly debased listeners.
-Ty E
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