Be warned all you anti-white readers out there (for whatever reason you have to be following my blog, FuckingButchInterlopers and NationalSneakyArseholes aside), this is one of those posts where I bring out my pro-white position. Because I can’t talk about this movie without talking about who got me to watch it. A fellow who goes by the name of Striker, who used to be with the (now defunct) National Justice Party (NJP), and on prior podcast shows like Fash the Nation (FTN) and Strike & Mike, much of which is on that therightstuff.biz website (some used to be on YouTube, but that didn’t last long, some remnants can be found on Bitchute and Odyssee).

To make a long story short, he recommended the film because he states it showed white nationalists in a light that’s a bit more, uh, fair, and borderline positive (depending on your perspective) compared to the average film and show out there which makes them one-dimensional villains with little to no redeeming qualities outside of their good looks. On that note, why aren’t villains ugly anymore? Why can’t we get some ugly deformed fat fuck like the Baron Harkonnen in David Lynch’s Dune again to root against? Is that body positivity movement still going strong and encouraging that many fat-asses to run around?

But I’m getting side-tracked again. Anyway, Striker recommended this film, so I watched it. What did I think? Well… let’s just say I didn’t like the film anywhere near as much as Striker did. And I’m going to be spending most of this post bitching about the movie, while hoping he doesn’t start smoking cigars, growing claws out of his knuckles, and start going all rabid over this opinion. I wouldn’t be too worried about it if I could talk Magneto into sticking around for that situation, but he’s another one of those jewish holocaust survivors, so… I’m with Warren’s position on this.

Rated: 2.5 / 5

The film begins with some jewish radio host (Alan Berg) talking about how the world would be a better place if we could all just stop making things more problematic than they need to be because everything is going along just fine. Another one of those very naïve views that isn’t really challenged, because jews can’t be viewed to be in the wrong anymore (which they ironically could be back in the 1980s and early 1990s, with various films like Jurassic Park, Aliens, and David Mamet’s Homicide). So naturally, the jewish guy has the peace & love position, which is challenged (in a trolling fashion) by some white nationalist callers, before eventually getting gunned down by one of them. Plus they also did plenty of armed robberies, and bombed some porn theaters.

Now don’t get me wrong, the film didn’t make this up, this actually happened. There was an actual white supremacist group that actually did these robberies, bombings, and killing of the radio host. There’s no getting around that. But when the epilogue text at the end of the film states that this book called The Turner Diaries (you won’t find this on Amazon or Barnes & Noble, or even Archive.org, you’re going to have to go to the CosmotheistChurch for something like that) which is a direct influence upon these people that caused them to do these acts, and is also responsible for other more recent white supremacist events such as the January 6 incident at the U.S. capitol. Now… you see… the moment it brought that bullshit up, it makes be unable to take anything from this film at face-value. Anyone with a brain in their skull should know by now that the official account of January 6 is more bullshit than the official account of 9/11 and the JFK assassination. That epilogue made the whole thing end on a sour note for me, making me shout, “Of fuck you! Kiss my ass!” Not exactly the last note a film would want to hit with a viewer.

https://odysee.com/@wooznews:a/everything-wrong-with-the-capitol-3:8

This is the key reason why this film isn’t very good. It would be one thing if it wanted to just show events as they happened, and tried to maintain historical accuracy over all/much else. But like most films, even historical ones, these damned Hollywood film-makers just don’t have it in themselves to just keep things factual. And I know, people will say they are unable to because that would make for a more boring film and there needs to be some flair for excitement. Bullshit. We all know why they do it. Because they want a form of messaging in the film to influence viewers to believe/behave in a certain way. Because subtlety is a thing of the past.

The gunning down of the jewish radio host is a prime example of how this all works. First, they (the filmmakers) make sure we know the guy is jewish. Second, keep the emphasis on him being all about love and peace (I’ll believe it when I hear it from his actual original radio show recordings, assuming they still exist). Third, everything in the film, including the gunning down of the radio host, is crafted to ensure these white supremacists look bad with the primary intention of making viewers believing any pro-white group existing today is more than capable of doing the same thing in the present. Because there’s another way to view this. It can be viewed as a group of people who don’t like what some radio host (or podcaster) has to say even if it’s just common sense, and so they send at least one of their own to shut him up so they don’t have to listen to him anymore, and so that the views he espoused will no longer be heard by anyone else. But there’s no way they would make a film as generalized as that in this day and age, especially when it’s a film about a white supremacist group committing acts of theft and murder. If you want a film that is more generalized about silencing the views/opinions of a radio host or podcaster, go see Pump Up the Volume instead (though I do need to check out Oliver Stone’s Talk Radio one of these days, heard it’s somewhat inspired by these events in the film).

Additionally, we never really get to see the motivations behind these armed robberies the Silent Brotherhood group does. There’s vague implications about them believing the country is getting worse, but it’s nowhere near as clearly laid out as in something like, oh say… American History X, or Romper Stomper, or even Higher Learning. Not to say I consider any of those films objectively good, they each have their problems; but at least a clear motivation is given for the neo-nazis in those films for doing what they did. And in order to not make it seem like a good idea, they always make sure the supremacists in those films are despicable people (or at the very least do despicable things to offset their valid concerns regarding the state of the country they live in). Makes me wonder why the filmmakers decided to leave that aspect out if they’re going to make sure the Silent Brotherhood are the villains. Maybe because they fear someone will start thinking, “Good reason to be motivated, bad use of the motivation. Better used in this alternative, and more constructive, scenario I have in mind.”

And speaking of perspective, Striker admired that the film showed the FBI agent to be an unhappy alcoholic/druggy user compared to the wholesome family environment that the Silent Brotherhood tends to have. This is too easy to tear apart.

The Silent Brotherhood members have beautiful wives and children and are content and happy. But! They are criminals/thieves/murderers. Which goes a long ways towards making the viewer think that there’s something wrong and fucked up about a happy white family with a husband and wife and children. If they were faggots then there wouldn’t be a problem until incestual molestation charges got brought up on the news at some point. This is a more subtle form of subliminal messaging that this other film called Imperium (2016) also did. That was almost a good film until the last 20 minutes when they went from, “The FBI jumped the gun, these white supremacists aren’t planning any terror activities. They just wanna protest,” to, “Except for the happy white family who is ready to plant and detonate a dirty bomb and kill a shitload of people.” Even when The Order was focusing on these “happy” family scenes, there was always something ominous about it, something about the music tone, the way a concerned wife looks on, that he’s teaching a kid how to shoot who will grow up to be another white supremacist committing acts of violence. Because obviously.

The FBI agent seems generally unhappy and probably drinks a little more than he should. But! He has taken down a couple criminal organizations and has made the country a better place. Being all lonely and depressed comes with the job, just like the average soldier. If you aren’t a miserable white guy, then there’s something wrong with you. It may suck and make you unhappy, but you gotta do your ethical duty and make sure there aren’t any happy white families out there, lest they disprove the theory that there can only be happy mixed race couples in this day and age; hence that one cop with his indian wife and kid. Although, to be fair, it is a bit hilarious to consider that she turns out sad and miserable because of the FBI guy, as foreshadowed during their first discussion. Sure, the FBI guy isn’t directly responsible for that, but I still get a chuckle out of that unintentional bit of the FBI making things worse for everyone.

I think Striker has had his standards lowered far too much over the years because of the shit quality of films we’ve been getting for the last decade (on average) to make him think this is a must-see film with portrayals that are more fair than you would expect. You know, like a politician who is better than you would expect, but still falls short of representing what you as a citizen want. I for one refuse to lower my standards that far.

Now, with all that aside, I didn’t think the movie was terrible. Shot well enough, has some decent action, and it does highlight an event in American history worth remembering. It’s worth a watch. And if nothing else it showcases that resorting to armed robberies for a cause will only harm it in the long term. This isn’t a bad message, it’s just the other subtle stuff thrown in with it dilutes it too much for me. I’d like to see this hypocrites do an adaptation on the Battle of Athens, Tennessee (August 1946 event, go look it up, but for Christ’s sake don’t watch that piece of shit movie An American Story, which is a piss-poor representation of the whole damn incident), and see if they’re willing to admit that sometimes force is necessary to use against corrupt officials.

And these people like to bitch about the existence of The Turner Diaries (which I haven’t read… yet) because it inspires racial hatred. You know, like plenty of mainstream media do these days.

PS: If you want a good movie about armed robbery for a somewhat justifiable motivation, go watch Hell or High Water (2016). If you want a film about a justifiable armed militant struggle to take your country back from invaders, go watch either Potop (1974), Red Dawn (1984), or Lion of the Desert (1980). If you want to see a film that’s, amazingly enough, anti-Zionist, and not made by literal Nazis, go watch David Mamet’s Homicide (1991). If you want to watch an alternate ending to Predator (1987), go watch this:

https://www.bitchute.com/video/I3gasKBe09AB