Saturday, 31 May 2014

When Worlds Collide
(1951)

Rating:
80%
Format:
DVD
Year:
1951
Predominant Genre:
Science‑Fiction
Plot:
A star heads directly for Earth; ensuring its destruction within a matter of months.
Themes:
Human nature | Love
Similar Titles:
Meteor | Impact
Best Performances:
John HOYT | Larry KEATING | Barbara RUSH

Armageddon Brings Out the Best & the Worst in Everyone

American Whites use their superiority in science & technology to save themselves and their civilisation from an imminent doomsday; hypocritically claiming analogy to the Biblical flood as the necessary qualifications, skills & abilities required for the journey are completely disregarded by excluding all other ethnic groups.

There is much talk here about the ethics of whom should be allowed to survive the impending end‑of‑the‑world but, in favoring non‑sentient animals over other humans, these Western Christians make their political priorities clear from the outset, as they endeavor to create an off‑world Eden – albeit this time as an all‑White people affair.

Yet, despite all the above, this movie is also a superbly‑rendered tale of romance and altruism, combined with still good‑looking special effects: A rather tasty exploration of the conflict within and between those Whites who wish to survive at‑all‑costs – and those willing to self‑sacrifice for the good of White civilisation and culture.


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.co.uk) is included. All other rights reserved.

Friday, 30 May 2014

Science as Salvation

Rating:
60%
Format:
Book
Year:
1992
Predominant Genre:
Non-fiction
Plot:
None…
Themes:
Wishful thinking | Totalitarianism | Political Correctness | Politics
Similar Titles:
None…
Best Performances:
None…

Boring little book written by someone who cannot communicate her subject clearly.

It concerns the many White scientists who believe Whites will someday progress beyond their bodies and their feelings towards becoming beings of pure intellect. None seem to realize that this sad state of affairs will give them little to actually think about.

The issue here is the usual White supremacist wishful-thinking concerning ultimate power - along with a freedom from the bonds of messy and imperfect being humans. Like Christians, such people hate everything that makes us human, like sex and love and passion; sacrificing these in favor of political dominion over the universe. You have to wonder what kinds of childhood such control-freaks had, don’t you?

Ultimately, these so-called scientists are simply frightened of dying and wish to abolish it - at least in their own minds. They see science as the natural heir to, and destroyer of, religion in their fantasies of human immortality and omniscience. Rather than abolishing the need for religion, they have simply made science a new religion to be worshipped - without question. Idealism, not as a means of changing the world, but of running away from it. Science as a slave for pressing current human problems on the Earth that scientists are running away from. Such scinentific mystics are offering salvation from earthly suffering by posing as omniscient technogods. Such scientific contempt for the human body is trying to render science as its own self-worshiping religion.


Thursday, 29 May 2014

Soldaat van Oranje

Also known as:
Soldier of Orange; Survival Run
Rating:
80%
Format:
DVD
Year:
1977
Predominant Genre:
War
Plot:
Dutch Resistance training in the United Kingdom.
Themes:
Personal change | Self-expression
Similar Titles:
Unknown
Best Performances:
Rutger HAUER… Jeroen KRABBÉ… Susan PENHALIGON…

Somewhat incoherent-yet-compelling account of a group of university friends and their adventures upon finding their country occupied by Germany in 1940. Some join the resistance, one the SS, one hides away in books for the duration - while others collaborate.

This group is a dramatic representation of the country as a whole and succeeds in making us wonder why the Second World War was fought at all - certainly not to protect nor liberate the Jews. It is implied that patriotism is an empty lie propounded by an elite that simply wants its poorer members to risk their lives to save a country the former are too scared to risk their lives to save.

The performances are excellent throughout and women are shown, as they really are: Man-hungry.


Wednesday, 28 May 2014

Carnal Knowledge

(1971)

RATING:60%
FORMAT:DVD

Predominant Genre:
Drama
Plot:
Two White males chart their sex lives through the decades.
Themes:
Morbid sexuality
Similar Titles:
Unknown ()…
Best Performances:
Ann-Margret… Candice BERGEN…

White Sexuality for Beginners

Movie that succinctly explains why Whites are so screwed-up about sexual intercourse and why you would not want your son or daughter marrying one.

Tuesday, 27 May 2014

Cité des Enfants Perdus

Also known as:
City of Lost Children
Rating:
60%
Format:
DVD
Year:
1997
Predominant Genre:
Adventure
Plot:
Scientist kidnaps children to steal their dreams; hoping they will slow his aging.
Theme:
Compassion
Similar To:
Indiana Jones and the Temple of Doom (1984)… 'Oliver Twist (1837–9)…
Best Performance:
Ron PERLMAN…

Ron PERLMAN Forever

Movie about stealing dreams from very young children - that quite clearly resembles a nightmare. This is a curate’s egg of a film that does not really add up to very much, but is very impressive to watch.

Part Indiana Jones and the Temple of Doom, Heavy Metal magazine, Terry Gilliam- & Federico Fellini-surreal & Oliver Twist it wears its comic trip heart very much on its sleeve. The problem is that it never overcomes these influences to become a work in its own right.

Where this movie also fails is in having child performers who live up to the promise of the film as well as the adults. Nevertheless, it is hard to imagine any child actor possessing quite the precocity necessary since this is a difficult-to-understand watch even for adults.

However, the movie passes the time agreeably and its homage to the unwitting psychological strength of the very young in the face of mortal danger is well taken.

Ron PERLMAN was born to play these larger-than-life freakish roles since he effortlessly conveys a great deal of brute physical-strength without you ever imaging he actually is a brute - his fearsome mien belied by his gentleness and warmth. This is in stark contrast to the other adult performers who are very much in the grip of the dark imagination of the directors (Jeunet & Caro) and so fail to make their characters work well.

Monday, 26 May 2014

Flandres
(2006)


RATING:80%
FORMAT:DVD

[Flanders]

Interesting look at the White manner of waging war. Despite their self-proclaimed superiority; justifying the waging of aggressive - as opposed to defensive - wars, the bestial behavior is no different.

What is interesting here is that sexuality is shown as the root of the problems depicted. The rape of dark-skinned civilians mirrors the sexual behavior at home with girlfriends these soldiers do not respect and whom they use as little more than unpaid prostitutes. And an ethically-empty culture that can only take its failings and export them to an unwilling world.

Given that this is a French film and the French have largely stayed out of an any direct involvement in the so-called War on Terror, it is strange that they should have made such a perspicacious movie about it; albeit one elevated by universalizing the affects of war by refusing to name this particular conflict.

By using non-professional actors, there is a sincerity on screen that is refreshing in its implied intensity. Where this film goes wrong lies in it merely describing - albeit accurately - the situation depicted; but in never suggesting a way out for the characters - while the character-driven nature of the narrative threatens to overwhelm the all-important plot.

Sunday, 25 May 2014

Zero Dark Thirty

(2012)

RATING:60%
FORMAT:DVD

Predominant Genre:
Thriller
Plot:
Manhunt.
Themes:
Politics | Revenge
Similar Title:
Seal Team Six: The Raid on Osama Bin Laden
Best Performances:
None

White propaganda disguised as drama.

Saturday, 24 May 2014

Chico & Rita

Rating:
80%
Format:
Cinema
Year:
2010
Predominant Genre:
Drama
Plot:
Chico is a young piano player with big dreams. Rita is a beautiful singer with an extraordinary voice. Music and romantic desire unites them, but their journey - in the tradition of the Latin ballad, the bolero - brings heartache and torment.
Themes:
White supremacy
Similar Titles:
Unknown
Best Performances:
None

Whites cannot Compete

More concerned with Black music - and the love of Black music - than it is with the strident political context of US White supremacism and the Cuban revolution, this lushly romantic and sentimental love story is still something of a winner, despite its lack of developed thematic context.

Rita is animated as a cross between Dorothy Dandridge and Sade. Her erotic appeal is well to the fore in her much smoother movements and her seeming to glide around rather than walk. Both she and Chico are believable lovers and they manage to carry the emotional weight of the movie despite the rocky nature of their sexual relationship.

The animation is a curious mix of primitive techniques and state-of-the-art CGI that works well because it focuses on the characters. Less effective than the Illusionist (Illusionniste), but this film suggests a greater likelihood of cartoons being aimed at adults now, as opposed to the current mediocre standards of Disney and the declining quality of Pixar - albeit that the latter have produced the excellent Toy Story movies.


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Friday, 23 May 2014

Katyn

Rating:
60%
Format:
DVD
Year:
2007
Predominant Genre:
War
Plot:
Examines the slaughter of thousands of officers and citizens in the Katyn forest in 1940.
Themes:
Unknown
Similar Titles:
Unknown
Best Performances:
None

Closed Family Album

Anecdotal story of a family tragedy that obsesses with the concept and practice of the truth, yet never rises above a mere genealogical preoccupation with one’s antecedents.

A story, of course, that needs to be told since the truth honors both the living as well as the dead. But there is no story here that we, who have not suffered as the central characters here have, can take away with us from our own lives to help us reach a greater understanding of this historical event.

The elliptical narrative makes empathy and identification with the characters difficult, so we never really warm to the theme of the Soviet version of historical truth and the moral compromises entailed in a Poland occupied by Russians, Germans then Russians, again - until 1989.

Well-made and handsome-looking, but little more than looking at someone else’s vaguely-interesting family photo album.

Thursday, 22 May 2014

Thief

Rating:
80%
Format:
DVD
Year:
1981
Predominant Genre:
Crime
Plot:
Criminal tries to go straight but crime is the only thing he knows how to do well.
Theme:
Personal change
Similar Titles:
Unknown
Best Performances:
James CAAN

Characterful crime story where no-one seems able to obey the law - so long as only the insurers of precious stones get hurt. A story of a man trying to regain the years he lost in prison by stealing diamonds and being one step ahead of the cops. The police here accept there is little they can do about crime so merely levy an unauthorized tax on the wealth the thieves steal.

As usual, there is no honor among thieves, especially as the crook here is determined to go it alone without having to pay-off those who wish to emotionally blackmail him with a protection racket based on his labor. A careful depiction of a culture of mediocrity in which the talented are supposed to work to pay for the welfare of the less able that is as true about the world of legal endeavor as it is about criminals.

The usual Michael MANN stylistic indulgences do not overwhelm the story but rather serve it. James CAAN is very believable as a professional jewel thief and is made for the role. However, his wife is under-written and his relationship with her, which should form the crux of the movie, fails to fully ignite. What does explode into our consciousness is the idea that to live fully one has to live as though nothing matters, so that one possesses no hostages to fortune. In this way, one can be truly beholden to no-one - but at a high price (at least to one's social life).


Wednesday, 21 May 2014

Leben der Anderen

Rating:
80%
Format:
DVD
Year:
2006
Predominant Genre:
Thriller
Plot:
Spying on the enemies of Socialism brings out paranoia and the bitter realisation that such politically-correct vindictiveness creates a lack of personal fulfilment.
Themes:
Personal change | Self-expression | Compassion | Totalitarianism | Political Correctness | Ethical Politics
Similar Titles:
1984 [Nineteen Eighty-Four] (1984)… Mephisto (1981)…
Best Performances:
Martina GEDECK… Ulrich MÜHE… Ulrich TUKUR… Thomas THIEME…

Lives of Others

Fascinating look at the extreme measures Whites take to protect their political theories from criticism. By labelling the critic as an enemy of the people, Whites hope to conceal the fact that the labellers are the real enemies.

The desire for anything that makes Whites look good to be true is so strong in White culture that Whites will even destroy their own private lives to ensure their politics is the only politics. Whites completely politicising their own private lives in this way, makes Communism and Capitalism both as completely intolerant of subversives as each. The former is more honest because legalised; the latter merely feigning tolerance while still condemning anyone who criticises Whites. The need to control the lives of those others who do not benefit from either both political system becomes solace for having renounced a personal life for politics. Indeed, marrying ones job is proof of loving politics more than life itself. As with political systems like White supremacy, adherence to Communist tenets is absolute or one is economically blacklisted - like an ex-convict with no criminal record.

One senses throughout that we are watching the Faust legend from the point of view of the devil. Buying souls requires the absence of this very thing on lucifer’s part; hence, his jealousy that many choose not to renounce theirs and thus retain their joy in living. As with Western Whites, these Eastern ones are so frustrated by having to keep up appearances that abuse becomes widespread - as in all White cultures; eg, alcoholism, fornication, drug-addiction, etc. Politics infects everything so that personal relationships are stillborn; State security claiming to benefit the happiness of Socialists merely inducing a weary resignation to systemic stagnation. A power-for-its-own-sake system simply increases the suicides of those citizens who see no reason to go on living in such a society.

The pettiness of officialdom and bureaucracy is well shown. Denouncing others for subversive activities is more to do with career-advancement than protecting Socialism from its enemies. It also serves the paranoiac purpose of imputing sedition to the body language of those one does not like personally. The physical and psychological drabness of life in a culture where saying what you think can get you locked up is also well to the fore.

Hard to see why Whites create such political systems when they never work in the long run since, like Apartheid, they require more expenditure of effort than any possible benefit they could provide. A culture discouraging individual initiative can only fail because all that is then left is benefiting from the destruction of others.

Despite the realistic storytelling style and the clear presentation of facts, the film’s only real failing is in not exploring the reasons for the existence of such White totalitarianism - despite repeated White claims of their political systems’ superiority. This negatively affects the characterisations, by gioving the actors less to express, despite the best efforts of the impressively-talented performers showcased here.


Tuesday, 20 May 2014

Full Metal Jacket

(1987)

RATING:80%
FORMAT:Cinema

War is Hell

Strange yet wonderful Vietnam War movie. Strange because this Vietnam is quite a cloudy place of muted greens where no one seems to sweat. Wonderful, because it successfully uses metaphors to explore the strategic stupidity of fighting an unwinnable war, so far away from home. (Moreover, the other really good Vietnam war-movies - The Deer Hunter and Platoon were also British films. As if the Americans are unable to be unemotional and clear-sighted about a war they so successfully lost.)

Here, the characters wander around a pockmarked and battle-scarred south-east Asia avoiding the jungle and wondering why they are there at all. They conclude their mission is simply one of slaughter for its own sake - with no wider geopolitical goal than to show the capitalist will to fight communism and communists.

As so often with US foreign policy, there is little pretense at actually defending the mother country. Instead, using vague concepts like Freedom, Americanism and Peace, a pseudo-justification is arrived at for what is, in reality, White neo-colonialism. The Viet Minh communists understand this perfectly well; hence, the failure of any such propaganda to subvert their minds from the basic task of winning.

The strong sense of futility that pervades the second half of the movie is in stark contrast to the black humor of the first. The latter of which makes clear this is the kind of comedy at which the director Stanley Kubrick excels.


Monday, 19 May 2014

Auschwitz

(2005)

RATING:40%
FORMAT:DVD

The Nazis and the ‘Final Solution’

White Man’s Inhumanity to Man

Profoundly mediocre look at White mass murderers, made by Whites, that presents the full horror inherent in White supremacism, yet does not truly speak from a Jewish perspective. Like any view of rape that largely ignores the victim, it will come across as sexist and, in this case, White supremacist. It is not comprehensive, nor does it draw parallels with modern White concentration camps like Abu Ghraib or Guantanamo nor even the North-Atlantic Slave Trade. There is also, curiously, no comparison with present-day European ethnocentrism against immigrants.

This tv series is thus a curious mix of factual reporting and White guilt masquerading as impartial history. Facts are presented without any genuine historical context - as if only the Nazis are hate-fuelled and other Whites are automatically-exempt from being labeled: "Racist". This clearly suggests the real reason such White propaganda is produced: To blame Nazis as the scapegoats for the failings of White culture, rather than of White culture as a whole. This is the morally-evasive technique used by the UK Police before its institutional racism was made clear, in initially claiming the apple barrel was OK but that there are a few rotten apples. But how can a few rotten apples take over the whole barrel, let alone a country?

Such paranoia simply mirrors that of the Nazis allegedly being criticized here. The series is a prime example of the very thing being assessed. The problem is that there is no historical analysis or interpretation of why Whites behave in this way.

The Nazis could never have come to power without the implicit consent of the majority of Whites: The German Resistance being the least effective of the Second World War. Like the Nazis after the war claiming they were only following orders, Whites today try to blame others for their own prejudices. And yet the exploitation of millions by whites in South and North America, Africa and Asia is ignored here, and the Nazis seen as exceptional when, in reality, they are part of an ongoing and consistent process of White supremacism lasting centuries; presently manifested in Islamophobia. And the fact that (loving?) Christians were heavily-involved in The Final Solution is almost entirely evaded. One could easily conclude from this that there is a conspiracy to conceal Christian anti-Semitism. The fact that no warring combatant in World War 2 fought explicitly to save the Jews proves that this attempt to isolate the Nazis from the stream of historical events - as if they were exceptional rather than common among Whites - is all one with the problem of White supremacism that is simultaneously faced and ignored here.

Given that White people killed six million Jews, it is hardly surprising that Whites would produce a documentary that avoids mentioning this rather obvious fact; revealing that its perspective is quintessentially White; ie, Nazi. There is little presenting of other perspectives; preferring, instead, the pretence that the White view is the universally-truthful one. Pity that the BBC has fallen into the same White supremacist trap as the Nazis - like guilt-ridden Nazis interviewed here; desperately trying to justify their actions.

(There is even an absurd White attempt to claim that the Jews deported from the Channel Islands was something unusual for the British to do, despite the existence of the White supremacist British Empire, all in the attempt to convince present-day Whites that if Britain had been successfully invaded, its police would not have co-operated with the Nazis as the Bobbies on Jersey and Guernsey did. Because the British mainland was not successfully invaded, British Whites can pat themselves on the back that they were not tainted with the name of "Collaborator" as many mainland Europeans were.)

It is hardly-surprising that anti-Semitism is still so widespread in Europe, today, given the unwillingness of contemporary Whites to face their own long-lasting phobias. What this tv series implies is far more important than what it dishonestly shows.

That Jewish documentaries on the same subject are better proves that one must always tell ones own history and not rely on the stories told by those who benefit from ones oppression: That is cultural colonialism as here because the Whites who made this programme do not endeavor to understand why White culture is institutionally-racist enough to allow this to happen. It must, after all, never be forgotten that evil endures not only because of its cleverness, but because few oppose it. You learn a lot about how Whites think by watching tv programmes like this but little about why. Worst of all, the unspoken fact that one of the reasons the Third Reich lost the Second World War is because the Nazis wasted billions of Reichsmarks murdering Jews that would have been better spent winning the war. Almost as if the Nazis secretly wanted to lose! Obviously, despite all the White supremacist rationalizations, the Nazis knew they were doing wrong and that their final defeat was therefore just.


Sunday, 18 May 2014

Emmanuelle V
(1987)


RATING:20%
FORMAT:DVD - UK Version

Male Idolatry

This censored United Kingdom DVD version of the film is neither letter-boxed nor panned & scanned so some scenes are rendered as meaningless as a cropped-off Web-page printed in Portrait mode.

Still Monique GABRIELLE (as the eponymous heroine) is very fetching - in and out of clothes - but no actress. Director Walerian Borowczyk’s trademark sexual fetishism is well in evidence; including some Russ Meyer-style sexual analogies like spurting champagne bottles.

As a paean to feminine sexual-freedom this fails - as all the Emmanuelle films do - because they are made by men - for men - and so tell us everything about male sexuality, but nothing much about women’s. This, despite the fact that pornography is the genre most often associated with female sexual-freedom as a theme!

The attempted critique of the cult of vacuous celebrity is limp and superficial since it relies on clichés rather than insight. Moreover, attacking those with empty, anti-porn minds - who are not the audience for this particular genre - is peculiarly reductive since it suggests the filmmakers are insecure about the nature of their own work. After all, the makers of romantic comedies, for example, never feel the need to justify their work by attacking its detractors, regardless of quality, because theirs is not a despised genre.

Rubbish - and not much fun.


Saturday, 17 May 2014

Grande Vadrouille

(1966)

RATING:80%
FORMAT:DVD

[Don’t Look Now - We’re Being Shot at]

Sophisticated slapstick comedy that pokes fun at the cultural differences between the English, the French and the Germans. The social snobbery of the French is exemplified by the odd-couple relationship between BOURVIL and Louis DE FUNES which is, at times, brilliantly funny and reminiscent of the ending of La Grande Illusion. The humor is a cross between Charlie Chaplin and Laurel & Hardy and never fails to amuse. The only real problem is that for a comedy this is a bit too long for its own good and has some difficulty therefore maintaining momentum and pace.

Like Dad’s Army for the English, this allows the French to laugh at themselves regarding a particularly dark period in their recent history - so much so that one wonders how they ended up on the winning side. The historical detailing is very precise - to this end - and must bring a mixture of unpleasant memories and good ones amid the general comedy chaos on show here. Proof that the only real catharsis is comic.


Friday, 16 May 2014

Last Valley

(1971)

RATING:60%
FORMAT:DVD

White Christian Bestiality

Interesting combination of the movie The Devils, the work of Ingmar Bergman and the novel Atlas Shrugged; exploring the internecine and near-genocidal nature of the Christian religious wars of the 16-17th centuries. This is combined with fear of the bubonic plague and the sheer wanton barbarity of the conflict.

Unlike African wars, European ones are extremely bloody as the combatants on both sides are intent on actual extermination. The film is an atheistic look at the non-existence of God and the consequent belief of the religious in the ability to excuse their greed, murder and hypocrisy as the imagined will of that God.

This somewhat superficial film offers little in the way of solace from the charnel house of Western culture save for the claim that one should only kill those who are the most dangerous. The reason Christianity lingers in the modern age is that secular ethics offers only personal responsibility instead of blind obedience - and few wish to embrace the former when things go wrong.

Where this film really fails lies in it making the rather obvious connection between the bestiality of the past and that of today; while also never offering a valid alternative to the incessant slaughter; nor of explaining why both Western culture and Christianity should have turned out to be so equally bloodthirsty.


Thursday, 15 May 2014

Kynodontas

(2009)

RATING:80%
FORMAT:DVD

[Dogtooth]

Movie about White supremacism - made by Whites - that never steps outside its own premiss to present any genuine perspective on the events shown: Appropriately-claustrophobic, but somewhat dramatically dishonest.

Like a Michael HANEKE movie (especially Funny Games), we are presented with a White culture in meltdown; after having given up on a reality that no longer matches its ideology, now that the various European empires have collapsed.

The desire shown here to emotionally cripple and retard ones own offspring so that they fear the outside world more than their parents, dooms them to a permanent state of never being fledged and, thus, of being unable to survive outside that nest. This provides for the parents’ neurotic need to be loved by their children rather than the other way around; while also perpetuating the decline of a culture that is allegedly protected by such abusive behavior.

The retreat from reality that the adult characters allege is both unbearable and dangerous is emphasized by twisting language - in a parody of Orwellian Newspeak - and giving words random meanings.

The incestuous nature of White culture is posited by the inevitability of the family’s actual incest; given that they know no-one outside of the family with whom any normal sexual expression could ever take place. The inability to empathize with others inevitably lies behind this social failing.

The film also illustrates the bizarre, neophobic fears of Western Whites that lead them to create White supremacist immigration controls, irrelevant citizenship tests, gated communities, punishing the poor for being the victims of economic recession, etc. And worse, this movie suggests that this is the rationale behind all attempts at emotional repression (as a substitute for culture & civilization); resulting in masculine violence and female masochism.

The culture here is revealed in all its emptiness, superficiality & materialism. A decadent polity that teaches no ethics, neither in schools nor at home - and that those who refuse to know better deem the decay acceptable. Posturing as a movie about Christian values, this is really about a Western family model that no longer works given the failure of Christianity to live up to its personal and political promises.

The characterization here is thin since the actors are (albeit brilliantly) performing archetypes. And where, in all this, is there a solution to the problems of a culture in transition that refuses to know that it is? A supremely-accurate description of a culture’s end, but no more than that.


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Science:



No science is immune to the infection of politics and the corruption of power.



Jacob Bronowski… (1908 - 74), British scientist, author. Encounter (London, July 1971).


Sleep of Reason:



The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.



Francisco José de Goya y Lucientes… (1746-1828), Spanish painter. Caption to Caprichos, number 43, a series of eighty etchings completed in 1798, satirical and grotesque in form.


Humans & Aliens:



I am human and let nothing human be alien to me.



Terence… (circa 190-159 BC), Roman dramatist. Chremes, in The Self-Tormentor [Heauton Timorumenos], act 1, scene 1.


Führerprinzip:



One leader, one people, signifies one master and millions of slaves… There is no organ of conciliation or mediation interposed between the leader and the people, nothing in fact but the apparatus - in other words, the party - which is the emanation of the leader and the tool of his will to oppress. In this way the first and sole principle of this degraded form of mysticism is born, the Führerprinzip, which restores idolatry and a debased deity to the world of nihilism.