Ayn Rand: A Sense of Life

Ayn Rand is one of the few intellectuals and philosophers of the past century that is worth noting. I say that she is one of “few” because she led an unofficial campaign to reveal the intellectual dishonesty of most so-called “intellectuals” that were attempting to(and did) propagate collectivism, cultural Marxism, altruism, and other related cancers that have infiltrated American “culture.” Ayn Rand was originally from Soviet Russia and knew all too well the inhumanity that “altruistic” collectivism caused. Ayn Rand: A Sense of Life is an illuminating documentary on the novelist, screenwriter, philosopher, intellectual, and overall humanitarian.


Many New York types have ignorantly labeled Ayn Rand a white Russian due to her hatred of Bolshevism and other related Marxist garbage. This assumption is wrong as Rand(born Alisa Zinov'yevna Rosenbaum) grew up in a secular cosmopolitan Jewish family, a group that was often pro-Bolshevik in nature as they deemed the Czar and Russian empire as “anti-Semitic.” Rand, a life-long proponent of individualism, was completely disgusted by Bolshevik collectivism and made her way to “the land of the free,” the United States. Ayn Rand: A Sense of Life follows Rand’s love for foreign Western cultures and her desire to leave Russia, a place she always had contempt for.

Ayn Rand first had aspirations of being a film screenwriter and made her way for Hollywood. By chance she ended up meeting Cecil B. DeMille. Impressed by Rand and her big penetrating eyes, DeMille invited Rand to play an extra in his biblical epic King of Kings. DeMille, an ethnic Jew, was notorious for his homoerotic undertones in his biblical films. Many have questioned whether Cecil B. DeMille was an artist or not, but his knack for cryptic themes leads me to believe that he deserves more credit than film critics have given him. On the film set, Rand would also meet her lifelong husband Frank O’Connor.


The marriage between Ayn Rand and Frank O’Connor is one much more interesting than you would find in any Hollywood film. Both husband and wife had a deep respect for one another and dedicated a lifetime to inspiring one another. At one point in their marriage, Rand would cheat on O’Connor but surprisingly it did not affect their marriage. Rand’s detractors have even gone as far as comparing marriage to “the holocaust” and “slavery.” Once again, Rand was able to prove by action and life experience that her beliefs were more than just rational.


Irrationality is what Rand considered to be the biggest destroyer of Western civilization and humanity in general. Her philosophy Objectivism firmly promote objective rationality and reason, things that are today shunned by mainstream intellectuals who promote slanderously irrational cultural Marxism. In Rand’s masterpiece The New Left: The Anti-Industrial Revolution, she exposes the source of modern day academia idiocy. Rand warns college students, “reason and morality are the only weapons that determine the course of history. The collectivists dropped them because they had no right to carry them up. Pick them up: you have.” If anyone wants to now why America is resembling the degeneracy that made the Roman empire dissolve, The New Left: The Anti-Industrial Revolution is a mandatory reading.


Ayn Rand was also one of the courageous few that confronted the communist humanity traitors that were running Hollywood. In 1947, she voluntarily testified before the United States Un-American Activities Committee regarding the Bolshevik propaganda filth peddlers in Hollywood and her own childhood experience in the Soviet Union. Rand also had the courage to analytically dissect the lies in the pro-communist Hollywood film Song of Russia(1944). Hollywood still makes pro-communist films to this day(Enemy at the Gates and Good Night, and Good Luck) and no one seems to care after up to 100 million deaths in the Soviet Union alone. Virtually every other movie that comes out of Hollywood has some type of fantasy cultural Marxist angle.

Ayn Rand is probably most famous for her novels The Fountainhead and Atlas Shrugged. Like Rand’s philosophy of Objectivism, the two novels stress the importance of individualism and personal integrity. In an interview during Rand’s later years, she admits that she had the same philosophy towards life since the age of 2 ½. From this, one can gather that Ayn Rand has had an independent mind since the beginning. In a world where all children are indoctrinated during there most vital years to not care about themselves and tolerate degeneracy, Rand’s dreams of reason and rationality for all have been all but destroyed. Thankfully, Rand has left the world with a wealth of important books, and Ayn Rand: A Sense of Life is an interesting synopsis of her incredible life.

-Ty E

Charles Manson Superstar

Charles Manson Superstar is a documentary about American icon Charles Manson and his legacy that was established by the media that martyred the would be Christ. Director Nikolas Schreck visited Manson in 1989 at San Quentin prison in Death Valley to do the hypnotically insightful yet hilarious documentary. Charles Manson, a man that was essentially raised in prison, became the drug messiah of a bunch of rich kids turned pseudo-Occultists who murdered some Hollywood types(including Roman Polanski’s pregnant wife Sharon Tate), resulting in a media money making frenzy. In the documentary, Schreck attempts to decipher the real Charles Manson through serious analytically established evidence(against myths) and words from the little Manson’s mouth.


Manson declares that “Christ was a little guy” and with that, it is easy to see the man’s own self established megalomania that inspires weak willed teenagers to this very day. At best, Manson is an illiterate intellectual poet that has become a messiah of his own prison cell. Charlie Manson has managed to survive basically his whole life and for that he should be commended. In former jail mates book Manson in his Own Words Manson explains his pathetic life without any real sentiment. Charlie Manson makes it clear that from the very beginning it has only been about survival.

Charles Manson Superstar also features Manson talking about many of his own personal philosophies. Manson considers himself essentially a white nationalist and anti-feminist. These are things that media Zio-Clown’s like Geraldo Rivera jump on Manson for immediately. Having a swastika engraved in your forehead also doesn’t really help. With “the family” Manson also had plans of starting his own “Afrikakorps” inspired by German Field Marshal Erwin Rommel(who was supposedly involved in the conspiracy to assassinate Adolf Hitler). Charles Manson expected a race war to erupt and an apocalyptic scenario to take place. We will just have to wait and see if the Race War and Apocalypse happens.

Rommel and his Men

Charles Manson has inspired a variety of diverse groups with his acts. The lame terrorist hippie “Weather Underground” and various Nazi groups were inspired by Manson. To these groups of disenfranchised individuals, Manson attacked the system and won. Charles Manson laughs at both groups. Charlie also makes claims that the outside world steals it’s culture from the prison world. Manson even acknowledges his deep respect for Adolf Hitler as Manson describes Hitler as someone “trying to put order back in the world.”


Charles Manson Superstar also notes a variety of a books and films influenced by Manson. I Drink Your Blood, Helter Skelter, and Manson Family Videos are just a few films about the “hippie killer.” Charles Manson Superstar is probably one of the most enlightening films on Manson as the other films are for the most part merely mythical presentations of the lonely man. In the documentary, Charles Manson’s behavior ranges from nonsensical to intimidating (he starts baiting the camera man), to pathetic. I recommend Charles Manson Superstar to anyone that is looking for a good unconventional laugh and a more realistic view of the most “dangerous man” of the late 1960s.

-Ty E

Querelle

Querelle was the last film directed by legendary German New Waver Rainer Werner Fassbinder before his too early death via cocaine and sleeping pills overdose. The film’s source material comes from the novel of the same title by famous gay French writer and criminal Jean Genet. The film follows Querelle who is a sailor and gay serial killer looking for love in all the wrong places. The world that he lives in looks like a gay bar from hell, with skies of fire and phallic architecture throughout. Querelle’s world doesn’t feature any limp wristed faggots, but a variety of “village people” style masculinity that would make Kenneth Anger blush in excitement.

Gay Sadomasochism is one of the most common events to be found in Querelle as it was in R.W. Fassbinder’s real-life. The wardrobes and occupations of the men found in the film seem to take inspiration from The Wild One featuring Marlon Brando, Kenneth Anger’s Fireworks and Scorpios Rising, and even Jean Genet’s own short film Un Chant d'Amour. One knife fight featured in Querelle, a disgruntled lesbian feminist would undoubtedly call Phallocentric, reminded me of the one featured in Nicholas Ray’s Rebel Without a Cause between James Dean’s character and his revival. I find all these various influences of Querelle to be ironic as Fassbinder was known for writing and directing his own originally tragic dramas. Querelle makes for an odd film for the fatalistic director to end his career.


Querelle is not the type of homosexual film that Hollywood would want the mainstream audience to see. Ang Lee’s gay “taboo breaking” hit Brokeback Mountain left the impression of American audiences that most gay men are longing for love just like heterosexuals. The reality is that most gay men are mostly prone to “slutty behavior.” Furthermore, they are known widely to be pathological liars, con men, and reject all forms of morality due to a natural habit of self-concealment, and leads to a stubborn self-deception about one‘s own gayness and it‘s implication, as noted in scholar Henry Makow’s most recent book.

Querelle presents a world very close to these subversive and sadistic characteristics. Dr. Makow’s recent anti-feminist masterpiece Cruel Hoax: Feminism & The New World Order goes into depth about the Hollywood lies surrounding Homosexual “morality” and related topics. Serial Killer Jeffrey Dahmer, Nazi SA Leader Ernst Röhm, and the sick NAMBLA pedophiles that promote the infiltrating of Boy Scout groups to molest young boys for gay recruitment, aren’t looking for “normal” love. All gay men aren’t psychos that lack morals but it’s important to acknowledge the reality of things as the Luciferians that run Hollywood so aggressively try to cover-up.


I wouldn’t a have problem with Hollywood if it decided to put films out like Tom Kalin’s Swoon and Fassbinder’s Querelle for mainstream viewing. Both of these films are masterpiece works of art that lack any type of hidden agenda. You aren’t going to find a half Bavarian/half black towering homosexual sodomizing a young killer sailor in the next Hollywood gay film. Of course, with all the degeneracy so often promoted in Hollywood, a scene like this will be no big thing from American audiences. The next thing Hollywood will be trying to promote is films about pedophilia, showing it as perfectly normal and those that don’t accept will be labeled “NAZI BUTCHER KILLERS!!!”

Querelle is a fine art piece of sadomasochistic expression. A film that radiates both colorful sets and even more colorful(not literally) individuals. French Actress Jeanne Moreau(Jules et Jim) plays the role of a lady that runs by the name Lysiane who sings a song throughout Querelle with the lines “Each Man killing the thing he loves.” These song lyrics become the most apparent theme of the overall film. A theme in which Querelle, a buffed up looking James Dean, would ultimately torture his life. The ending of Querelle is as “happy” as such of it’s nature can be.

-Ty E

Rocky Balboa

Rocky Balboa is yet another recent Sylvester Stallone franchise film directed by the man himself. Stallone has stated that the newest Rocky film is, “The End” so don’t expect another film about the slowwitted and hard driven fighter. In Rocky Balboa, Rocky has long ago already reached his fighting abilities peak. His beloved wife Adrian has died of “woman cancer” and he merely spends his days running his fancy restaurant. Rocky’s son Robert has a fairly cold relationship with his father and has become a corporate asshole. All in All, Rocky’s world seems to be less than ideal, and of course unexciting.

The city Rocky lives in is now your typical American urban ghetto. The locals of the city that he grew-up in are less than admirable. In a bar, Rocky encounters a young lady that is fairly fluent in Ebonics and after denied a “free drink” by rock she irrationally states, “you ain’t not better den me.” Rocky seems more disturbed by this situation than anything. He soon makes his way out of the bar with “little” Marie(her character is featured in the original Rocky film stating, "screw you, creepo"). When Rocky realizes “big” Marie now has a mulatto son, he looks a little shocked by it, and of course he attempts to downplay his reaction.


Rocky’s brother-in-law Paulie isn’t in too good of shape either. When Rocky invites Paulie to have a “special” at his restaurant he replies, “Italian food cooked up by a bunch of Mexicans ain’t so special.” Paulie’s statement reflects the feelings of most blue collar workers and seems like a direct blow to Rocky for hiring them. Essentially, Rocky Balboa shows how America, American Unity, and American communities have gone down the drain because of weakling guys like Rocky’s son.

Of course, all the negative things turn around as can be expected in a film of typical Hollywood conventions. Rocky gets back into boxing and fights a much younger boxer. One can only wonder if this is reflexive of Stallone’s own personal mid-life crisis. Rocky Balboa has various references to the original and this is appropriate as this is the last film and second best film. Sylvester Stallone found the perfect way to end the “fight your way up” American dream series.

-Ty E

The Final Solution to Adolf Hitler

The Final Solution to Adolf Hitler is a one man show documentary featuring Jim Condit Jr. On Condit’s personal YouTube account he has described himself as, “Kind of a good reporter, not much else.” Condit’s clearly controversial documentary The Final Solution to Adolf Hitler takes a completely unconventional look at the German dictator and his mysterious background. In the documentary, Condit introduces a series of old and new books regarding Adolf Hitler’s assumed Jewish background and the Jewish bankers that financed him. Jim Condit’s main point with the documentary is that Adolf Hitler played a crucial(if not the most important role) in founding the Jewish state of Israel.


I have personally read many of the books Condit introduces and I can say that some are much more credible than others. The evidence ranges from official classified Nazi documents to hearsay amongst Nazis and Jews themselves. The fact is that collaboration between Nazis and Zionist Jews is an indisputable fact, something they leave out in Bolshevik style American public schools and even at the graduate level. In America, people seem to care more about things that cause irrational impulsive responses rather than rational fact base discussion.

Jim Condit Jr. is far from the most charismatic guy around. In The Final Solution to Adolf Hitler, he constantly stutters, mixes up facts, and even sometimes seems confused. Condit reminds me of an eccentric community college professor that wears bad suits and has unconventional ideas. I especially liked the 1980s style computer monitor in the background of the documentary. It added a sort of “underground” and broke truth seeker aesthetic.


The real wealth in the documentary is his introduction of these books so that individuals can do their own personal research. So-called “mainstream” and “accredited” historians are not at all trustable. The majority of these individuals just rehash and recycle ad hominem attack style unscholarly history for their unthinking(and apathetic) masses to consume. Any historian that starts to drift off into uncovered history(yet fact based and scholarly history) is almost immediately discredited, shunned, out of work, jailed, and possibly even killed.


The Final Solution to Adolf Hitler features Jim Condit Jr. talking at his desk for two hours. The production of this documentary couldn’t have cost more than $100 to do. Unless you consider having to buy a pro-consumer mini DV digital camera, the books Condit introduces, and other related documents. Despite Condit’s lack of production values and overall presentation with The Final Solution to Adolf Hitler, he deserved to be commended for his studies. Very few individuals(especially Americans) have the audacity or shamelessness to go against the accepted historical norms in this country. Most have accepted Steven Spielberg’s hateful and idealistic view of history as emotions speak louder to them than words.

Watch The Final Solution to Adolf Hitler

-Ty E

Dead Leaves (Anime)

Dead Leaves is an anime film which is noted for its breathtaking visual flair and nihilistic attitude. These word-of-mouth nominations give clear praise towards the disgustingly short film (43 minutes) and it deserves every one of them. With a visual style comparable to FLCL, Dead Leaves does nothing but provide dick & fart jokes and blend it with a dystopian landscape which surface crawls with extreme carnage.

Retro & Pandy (aptly named) are two bizarre creatures who awaken on Earth with no prior memories to what caused them to crash land on Earth in the nude. After a 3 minute ultimate destruction spree to get weapons, food, and transportation, they are locked up and sent to a prison which is structured on what's left of the Moon. Together, they will have to put their heads...and their genitals together to escape and find out what really happened.


The plot is over-the-top and the action is ludicrous. The style of animation is a unique way of preserving the background while exclaiming the action and broadening the onomatopoeia's to give a "Retro" appearance and create it's own specific mood. The pacing is what really shines. At times, I couldn't tell if I was frustrated at this film or if I was just having too much fun. At the fragile run time of 43 minutes, It's hard to really get absorbed into something so fast, but it all pans out fine in the end.


The creatures which populate the world of Dead Leaves provides a Guillermo Del Toro-esque population which breathes life into the busy crowds the same way Stan Winston creates his fantastical caricatures of Aliens, Dinosaurs, and other beasties. 666 and 777 are the "sub-bosses" of Dead Leaves. Their designs seem to relate and/or borrow from various video game characters sprawling many platforms. 777 seems like a blue version of Potemkin from Guilty Gear and 666 is like Kiros from Final Fantasy VIII.


All in all, an excellent animation surprise forms a frantic, high octane action epic sprawling a ruler's length in time. Too short, but too sweet. I'd like there to be a 6 episode series as much as the next fan would, but I doubt will see more of these two's adventures. If you like your nudity bizarre, sexual situations deranged, and gore and violence extreme and comical, Dead Leaves is right up your alley.

-mAQ

The Banking Scam of Multiculturalism and the Death of Theo van Gogh

Nothing has cost the Western World more destruction(aside from war) than cultural Marxist idealists and movements. I just got done watching Stanley Kubrick’s A Clockwork Orange again after various viewings this year(one of my all time favorite films), and I can’t help to laugh at the beating Alex gives to the cosmopolitan intellectual husband and wife in their very home at the beginning of the film. Alex scams the couple into letting the gang of droogs in after claiming “there was a terrible accident” and minutes later their world falls apart. I laugh not because of the beating they take but how their naïve intellectual idealism is what leads ultimately to their downfall. As we find out later in A Clockwork Orange, the husband is crippled and the wife is dead. Still the “intellectual” has retained his altruistic idealism and claims that poor alex is “a victim of the state.” Of course, this old geezer is quick to change his mind when he finds out that Alex was the leader of the gang that put the man in his wheelchair and his wife in a coffin.

But as we all know, A Clockwork Orange is a work of dystopian fiction. I’m going to now take a look at an event that is film related that happened just a couple years ago. In 2004, Muslim extremist Mohammed Bouyeri brutally murdered Dutch filmmaker Theo van Gogh. Van Gogh, a descendent of Vincent van Gogh, had recently directed a short film that appeared on Dutch public broadcasting network television which criticized the obvious misogyny and double standards found in Islam. The short Submission was written by Dutch feminist Ayaan Hirsi Ali and directed by Theo van Gogh.

Theo van Gogh with only ONE Beer Left

Theo van Gogh Dead

Submission is just over 10 minutes in length and features a naked woman covered in verse from the Koran. The woman plays the voice of four different women that suffered abuse from their power hungry radical Islamic father. The woman’s only wearing a veil over her face(and nothing covering her body) is obviously symbolic of Islam’s treatment of women as a sexual object and not an individual. One of the testimonials involves a woman talking about how “Allah” likes women to be “pure” and “clean” yet various men(like her Husband's brother) have defiled her. Unsurprisingly, the literal translation of “Islam” is “Submission“. Hence, the films completely appropriate title.


The Islamic killer Mohammed Bouyeri apparently has a thing for amputee and necrophilia pornography. I don’t believe that the rotting and legless have that much in the way of “purity.” Maybe Bouyeri thought that killing an infidel Dutchman would boost his sexual desire for a woman that actually has all her limbs and even possibly is alive. The questions I have for Allah is if a woman has a female circumcision, is she still pure?

Dutch liberals have welcomed many different cultures into Holland. This ongoing trend of “Globalization” has flooded Europe with immigrants from abroad, and from the look of things it has only caused damage. For an individual like Theo van Gogh to be murdered in his own country for having an opinion, is a sign of a serious problem. Van Gogh is artistic royalty in his homeland and for an ethnic Moroccan(who has “Dutch” citizenship) to silence him with death is an outrage.


For the international bankers, it has brought them almost unlimited power with very little fight from European(and American) nationals. Racial tensions are things that internationalists love to instigate. They really don’t believe that multiculturalism, feminism, and other cultural Marxist “isms” will work. The bankers fund these subversive political and social movements so that they can destroy nationalism and loot these countries for what little they have left.

Islam has no place in Europe as it’s Archaic and barbaric nature isn't even up to date with the mores of Europe hundreds of years ago. The Dutch thought that they were being “open minded” by allowing such “diasporas” infiltrate their country and now the “melting pot” is starting to boil. Neo-Nazis have been starting to gain momentum in Holland and abroad as “multiculturalism” only causes racial tensions, not destroys them. The same thing has been going on in the United States for decades and it is inevitable that chaos will ignite. You can guarantee that the bankers are counting on it.

-Ty E

100 Years of Adolf Hitler and the Dangers of Idealistic Art Fags

Scandalous German director Christoph Schlingensief’s 100 Years of Adolf Hitler(1989) is an absurdist mockery of Adolf Hitler’s last days in the Führerbunker. The film takes a fairly schizophrenic approach to Hitler’s final hours, especially in comparison to Oliver Hirschbiegel’s recent big budget German production Downfall(2004). While Downfall almost comes close to glamorizing Adolf Hitler and the destructive conclusion of the Third Reich, 100 Years of Adolf Hitler makes a sick slapstick joke out of it. From the beginning of the film, you know that Schlingensief is a bold and uncompromising artist.

100 Years of Adolf Hitler is full of incest, cross dressing, drug use, suicide, and other offensive things that are treated in a completely comical manner. The film begins with a speech by German director Wim Wenders(Wings of Desire, Paris Texas) saying, “We can improve the pictures of the world and with that, this world can be improved.” I think it is safe to say that Schlingensief is also mocking German cinema with the inclusion of Wender’s embarrassingly idealistic and generic speech. Despite my love for many of Wender’s films, he seems like a turd of a man.


100 Years of Adolf Hitler is the first film I have seen of Schlingensief’s and I found it to be a masterpiece, especially for a film with a 16 hour production time. The film is shot in B/W and executed in a theatric manner with spotlights focusing in on actors lurking in the shadows of a desolate bunker. Legendary Gay German Actor Udo Kier (a former lover of Rainer Werner Fassbinder) stars as a fairly emotionless and surprisingly unexpressive Adolf Hitler. The rest of the caricatures of the Nazi bunch seem to be in a constant state of pathological hedonism and greed. They continuously bicker about who will take power and such ideological fantasies as the promise of a “3000 year Reich.” Their insane stream of consciousness arguments make the three stooges look like courteous debaters.


During their stay in the bunker, the outrageous Nazi heavy weights get involved in a variety of comical situations. The most heartwarming of these wacky scenarios involves the singing of Christmas carols around a Christmas tree. It surely wasn’t a silent night in the deep dark abyss that is the Führerbunker. Schlingensief even makes the poisoning of the Goebbels children by their mother a comical yet still disturbing scenario. I assume that like many Germans, Schlingensief is incapable (and rightfully so) of completely articulating all the horrible things that happened during the end of the Third Reich. In that regard, Christoph Schlingensief is the most honest of the German directors in expressing his feelings about the aftermath of Nazi Germany.

National Socialism(Nazism) was probably the only political movement based on aesthetics. Documentary filmmaker Peter Cohen’s film The Architecture of Doom, although somewhat flawed, goes in depth about Nazi ideology and it’s obsession with beauty. As Walter C. Langer’s wartime psychoanalysis of the real AdolfHitler, The Mind of Adolf Hitler states, the Führer had the mind and emotions of an artist (although a failed one). Before Adolf Hitler’s suicide in 100 Years of Adolf Hitler, he makes his final artistic masterpiece by pulling his pants down and covering his bare bottom with sloppy fecal looking paint. The Führer then stamps a piece of paper taped to the wall with his paint covered ass. This final ugly art piece by Hitler sums up his contribution to Germany. The feminine peasant artist from Austria could only lead Germany to destruction as the bankers that funded him probably expected. Adolf Hitler essentially left a stain on Germany that will last 100 years. Hence the title for the film, 100 Years of Adolf Hitler.

Art Fag Wim Wenders

Christoph Schlingensief concludes 100 Years of Adolf Hitler with the same bullshit speech by Wim Wenders featured in the beginning of the film. Following Wenders, a German fellow discusses the German people being both historically romantic and idealistic. The man also states, “The Germans have always shown their greatest skill in times of hardship, hunger, and war.” The man finally goes on to talk about the Germans needing to be less enchanted, less romantic, and less idealistic(as these things have lead to their downfall). Director Wim Wenders has always been an outspoken against Nazism and very idealistic in nature. I think it would be safe to say that Schlingenseif was making a point that despite Wenders anti-Nazi attitude, he is just another artistically idealistic art fag like the Führer himself. The moral of the 100 Years of Adolf Hitler story is to never let an art fag in a position of power.

-Ty E

Addiction

Another day, another Brain Damage film. This time, Not only was I surprised to find a film that doesn't suck all the way, but I was also alerted when a faint trace of effort lingered from the final cut of this film. While I'm on the topic concerning cuts and edits of a certain film, This is another in the long line of films that brandishes a bloody logo reading "UNRATED" in an attempt to draw up controversy or to spark an illusion for something that simply isn't there.

Addiction isn't bloody in the slightest. There is more blood in the ever popular Halo franchise then there is in the entirety of this film. An abnormally normal office worker stabs a filthy homeless negro and becomes obsessed with the rush of killing and stabbing. Taking cues from the ending of Nekromantik, films these days always try to elaborate some deep psycho-fetish for death, but never pay up its inspirations. Largely a character portrait, I didn't appreciate how this film was a direct copy/paste from Mamet's Edmond (stage play).

Similarities:

Both involve a normal man with a normal marriage
Both get fed up and somehow get separated
Both acquire a knife and begin stabbing people using rage
Both kill negroes who try and rob them
Both have a psychosis effect
Both have a huge falling out
Both get disheveled and pick up prostitutes in an effort to smooth out.

Regardless of James Tucker's original intentions, his subconscious played a huge role on the film by making the majority of his killings racially charged. First he kills a rough Dave Chappelle looking man who attempts to rob him. The tables are turned when Whitey returns the blow and leaves the black man whimpering in a corner. Then he encounters a vagabond who wants to die. Our anti-hero acquiesce half-heartedly to a homeless man's request. All around the world, fans of the Cosby Show cried.

Brain Damage Films has released a decent film which is ripe with unfinished side stories and rips off an amazing stage play which was transformed into a film in 2005 starring William H. Macy. That comes highly recommended, more so than this low budget soap opera. While being an "alright" film, It doesn't meet hardly any requirements to make it a must see. Barely being worthy of a rental, it sure was nice to see some acting that wasn't too horrible.

-mAQ

Katie Tippel

Katie Tippel (1975) is another Dutch masterpiece from the early directing years of Paul Verhoeven. The film is a rags to riches story taking place during the 19th century as the banking scam of socialism started to rear its putrid head in the Netherlands. The film is based on the memoirs of true life Cinderella Neel Doff. As you can expect from Mr. Verhoeven, Katie Tippel is full of bizarre and even downright disturbing sexual moments.

Katie Tippel’s family have just arrived in Amsterdam without a penny to their name. Despite their lack of monetary success, Katie’s mother and father have produced a number of kids they can’t afford. The sole breadwinner of the family is Katie’s overweight and fairly disgusting sister who has realized her baby making machine can feed her stomach. Katie’s father (who eventually gets a job he loses) is pathetic to say the very least, and her mother seems to be willing to have her children do anything for a couple of pennies.


Katie demonstrates from the start of the film that she is a fighter and won’t let anyone get away with taking advantage of her. After being raped by her scrawny employer, she throws a brick through the window of the shop she once worked at. Against her own morals, Katie eventually takes up the undesirable career of a prostitute. She realizes early that men only end up taking advantage of her and she might as well get paid for it. One buyer even calls her most private area a “pretty little rose” and soon afterwards only gives her a couple cents due to her lack of experience. Rich people have always been cheap.


Katie’s overweight sister finds it only appropriate that she defecates in front of her parents while they eat dinner. In tribute to the dead art of reading, she wipes her hefty ass with a page that she tears out of a book. Earlier in the film, Katie’s sister also finds it funny to drop the families recently acquired puppy (that died in flooding of their shabby room) in the same toilet. Katie also finds her little brother prostituting himself to a dirty old rich man. When she tells her mother, she ignores what says. Katie has more than enough reason to abandon her pitiful family.

I have seen a variety of “success” films in America throughout my life as most American’s have. I find Katie Tippel to be preferable to those “American dream” propaganda pieces. Katie Tippel is full of artistic raunchiness which is something that I have always appreciated. The Dutch films of Paul Verhoeven are like the films Bernardo Bertolucci (although I am a fan of many of his films) except with more class and cohesion.

-Ty E

The Secret Glory

The Secret Glory is an exceptional documentary directed by Richard Stanley on the extraordinary life of SS officer Otto Rahn. When one speaks of members of the SS, they automatically think of a devil in human form. Rahn was not your typical SS man as he was a sensitive artist that joined “the club,” as he put it to a friend, “dear paul, one has to eat.” SS leader Heinrich Himmler recruited Otto Rahn due to Rahn’s study of ancient Germanic cultures. Rahn was also able to confirm Himmler’s ancient Aryan ancestry.


After watching The Secret Glory it is made clear that Otto Rahn was a loner and an individualist. Someone that certainly had no interest in supporting collectivist governments such as the National Socialists. On the other hand, like the National Socialists, Rahn wanted the great European nations to unite (including France where he did much of his research). Otto Rahn inevitably had a falling out with the SS and had the audacity to quit the cult-like organization.
Otto Rahn’s emotionally cold mother sewed him a sweater with an SS lighting bolt on it that he wore very often. This is quite ironic considering that Rahn’s mother was Jewish. Like almost all of the major Nazis were rumored to be Jewish (and conveniently almost all of their ancestral records were destroyed after World War II), Otto Rahn, like SS founder Emil Maurice, is confirmed to be of Jewish ancestry.


Otto Rahn was a homosexual as well, and this also led to his unfortunate downfall. The SS gave Otto Rahn two options: to enter a concentration camp or commit suicide. Rahn was forced to work at two concentrations camps (including Dachau) as punishment and he was well aware what was going on in them. Naturally, Otto Rahn committed suicide by taking sleeping pills and freezing to death at a mountainside in Austria.


Many rumors live on today about Rahn’s suicide being faked. As The Secret Glory demonstrates, Otto Rahn had a very interesting life full of many mysteries. The documentary left me with many questions that I know will never be answered. Out of all the Nazi players I have read about, Otto Rahn is without doubt one of the most interesting (if not the most interesting). He is also much more worthy of notoriety than Indiana Jones (and the overrated banal actor the plays him), the Hollywood character whose life parallels (as Nigel Graddon’s recent book on Otto Rahn insightfully demonstrates) Rahn's.

The Secret Glory brings up high probability that Otto Rahn believed that Lucifer was “the son of God.” It is also interesting to note that Rahn never said the word “God “ out loud (also a Jewish belief). He was verily an individual that had his own ideas and theories. It was only appropriate that Otto Rahn would die by his own hand.


The structure of The Secret Glory is a very dark yet soothing experience. Director Richard Stanley interweaves interview footage, vintage photographs, and early films (Fritz Lang’s M, Aleksandr Nevskiy, etc) in a seamless manner. The music featured in The Secret Glory is very melancholy and gloomy. This is a soundtrack that perfectly compliments the image of a timeless (and for the most part neglected) figure.


Otto Rahn was an individual whom many said was always searching for something. The urge this young man had ultimately led to his death. One could say that Otto Rahn was doomed from birth, but very few could claim that they led a life as interesting as this unconventional SS man. I have yet to see a clear photograph of Otto Rahn in his black SS uniforms (if one even exists) and I find that only fitting.

-Ty E

Class of 1999

Class of 1999 is the surprisingly excellent sequel to Mark L. Lester’s exploitation masterpiece Class of 1984. The film is set in a time where American public schools are more of detention centers than places for teenagers to take in knowledge that will help them in life. That being said, Class of 1999 does reflect contemporary American schools to a certain degree. This time around, gangs aren’t the biggest threat in school. A small group of three killer robots have now taken jobs at this public school wasteland.

Both gangs featured in Class of 1999 wear outfits that put today’s philo-homosexual Emo and Wigger play thugs to shame. Writer and director Mark L. Lester makes it known that subversive types of people reflect that their brains and sexual equipment are more than a little scattered through their choice of clothing. The film’s hero and protagonist Cody Culp has just gotten out of jail and is ready to straighten his life out. That becomes a bit difficult for Cody when gang members try to rape his love interest and beat up his turd of a brother (played by Joshua John Miller).


You know the world is a dangerous place when Malcom Mcdowell is the principle of a high school. The school is apparently titled Kennedy after the two Irish American brothers that offered promises for a new America, but just ended up getting assassinated. Ideological dreams of peaceful (and peace in general) diversity, collective harmony, and a world without crime have been confirmed fantasies in Class of 1999. This has also no doubt been proven the reality of contemporary America as the country has gone from global world power to the inevitable third world sewer that so-called liberals continue fighting like little girls for.

The three killer robot teacher in Class of 1999 come in three forms: a stoic old white man, a middle aged bitchy black woman (played by Blaxploitation icon Pam Grier), and an asshole white jock. These three human engineered psychos have decided that any interruption to their orderly teaching must be dealt with via extermination. They can snap a neck faster than turning a page in a book. Eventually the students realize who their true enemy is and take action. If only kids in real public schools could put two and two together.


Class of 1999 is an underrated work of exploitation filmmaking. In all honestly, I found Class of 1999 to be much more entertaining than any three films in the Terminator trilogy. The politically incorrect film is also one of the few more recent exploitation films that has any redeeming qualities (and it has a lot). I don’t think that it would be an exaggeration to call Mark L. Lester a genius of exploitation filmmaking. Very few individuals can live up to such a title.

-Ty E

Blind Beast vs. Killer Dwarf

Allow me to experiment a bit with this film writing. This isn't some attempt to bash a film but rather, a calling out to cinema-goer's of all types who appreciate film for more pretentious values. I've done it before. I've loved certain films because of how they look or the plot devices used. It's rare to find someone that hasn't had this guilty pleasure. This isn't so much a review as it is a testament to how wrong this film was made.


Regardless of inspirations, the first thing I noticed about this film was how horribly they butchered the source material for the classic serialization of Blind Beast, let alone the masterpiece in Roman porn that Masumura created. To kick it off, imagine (if you have seen it) Blind Beast. We can all agree that it was a solid masterpiece and could be the poster child for any perverse or sadistic fetish that no one had the gumption to admit having.


Blind Beast was a mosaic of perpetual sexuality. The Set's alone were among the most disturbing pieces I have ever encountered. Imagine if you will, Taking true art and pissing all over it. For instance; Any Warhol painting or Tarantino film. (Although I did enjoy Pulp Fiction regardless of how many ideas he stole from short films) Teruo Ishii has taken the setting of the tortured artists studio and dulled it down with embarrassing sculptures that I could even re-create.


(Blind Beast: 1969)


(Blind Beast vs. Killer Dwarf: 2001)

I first blame Rampo for this. Being the writer who penned the serialization of the original story; Blind Beast, It is quite saddening to see this raping of a classic. This is almost as bad as when George Sluizer remade his own masterpiece (The Vanishing) into another rife Americanized film which debases art or originality in cinema while forcing you to spend 60 minutes starring at a younger Kiefer Sutherland in tight blue denims.


I'll be the first to admit I haven't seen any of this directors other films. Judging by his filmography and cult status, I understand that he might have been a great director, but this last film before his death due to lung cancer stunk to high heavens. Like the "great" Tarantino, it seems that Ishii had decided to mesh a few good ideas stolen from original movies to create an even more original film. Not even science would allow such an abomination to occur. Now more onto the film, It's filmed in a generic soap opera style, the acting is abysmal, there is no engaging experience, and the dialogue feels like it is written by a children's book author.


The next plot point is a Killer Dwarf who walks around parks at night dropping a woman's arm cut off to the shoulder. A noir detective played by legendary Shinya Tsukamoto (Shame on you!) attempts to follow the midget around various set So Ishii and Rampo teamed up to create a cross between Blue Velvet, Blind Beast, and every "curious author who wants to find the truth in an extremely risky situation" film. So they've done that, now what? You think a detective following a midget samurai around is bad? Wait till you find out that this midget also played Godzilla's son in one of the many sequels. What a resume.


As my original argument stated, I don't understand how people can conform to a certain film for bare bones aesthetics. I guess that same could be said for my love on Švankmajer's Alice. While I never tire of the film, I can understand how the annoying dub and some of the scenes can rub a cinephile's skin the wrong way. It definitely wasn't his best work, but I still hold a fan-boy crush on all of his works. Another example could be Slaughtered Vomit Dolls. This is a remarkable achievement in vomit cinematography but that's really about all the steadfast weight it carries. It does have deep meaning and several underlying themes which chill you to your bones, but when you watch Slaughtered Vomit Dolls, face it, you're watching it for the gore.

More examples are Santa Sangre from autuer Jodorowsky, Pretty much any Miike film, most of Argento's work, and most of Lynch's later works. While these films lack in substance or any narrative, most people still flock to these films due to the popularity of his other works. Obscurity is the new fad and it won't stop with the birth of the term "Indie Rock" or "Indie Films" True Story: Ty E and I saw 1408 in Target with an Indie sticker. What has the world come to?

-mAQ